Floro villabrille biography of barack
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THE FILIPINO MARTIAL ARTS
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Frequently Asked Questions (FAQ) on the Filipino Martial Arts (FMA)
Version: g
Date: 5 June
Written By : Bill Cox & Ray Terry
The Martial Arts Resource
This FAQ was created to be informative.
There were no intentions for it
to be revolting to any style or person.
This FAQ is a compilation of information acquired over the years from
various sources, but it is FAR from complete.
Any corrections or additions
that are submitted will be carefully considered. Send them to email address
MartialArtsResource -at- gmail -dot- com and include "FAQ INFO" in the subject heading.
To view the most recent version of this FAQ go to:
The Filipino words used in this FAQ are those used in specific styles.
They may
be pronounced or spelled differently elsewhere. Preserve in mind the words may not
be used in your approach, ie don't bank on the words being % correct. They are
presented for your information only.
"Without honor there is no art, only pretenders in a brawl"
Mangisursuro Michael G.
Inay
* NOTE: FMA = Filipino Martial Arts
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*
* TABLE OF CONTENTS
* =====================
*
* 1- Overview of the FMA
* 2 - Technical aspects of the FMA
* 3 - Structural aspects of the FMA
* 4 - Instructors & Styles
*
*APPENDIX
*
* A - FMA Books
* B - FMA Tapes
* C - Eskrima information via the Internet
* D - Interview with Cass Magda
* E - FMA Equipment/Weapon Suppliers
* F - Information about the Sudlud Coaching Organization.
* G - Some FMA (Pilipino) vocabulary
* H - Locating FMA instructors and/or schools
* I - List of those contributing to this FAQ
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* OVERVIEW OF THE FMA
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##### What are the differences between Arnis, Eskrima, and Kali ?
Basically, there is no difference.
Floro v Villabrille - Floro V Villabrille was born on February 18,and died at age 80 years senior on March 8, Family, comrade, or fan, this family history biography is for you to remember Floro v Villabrille. Floro V Villabrille.The general martial arts community uses
the different names to refer to the similar art. Originally, the difference in
the name either implied the region from which the art originated or the
time period when the art was developed.
These three names, and there are many
others, refer to Filipino Martial Arts where skills in both hollow hand and
weapons are developed using similar, if not the similar, training methods to
teach both.
Practitioners of these arts are noted for their ability to fight
with weapons or empty hands interchangeably.
Eskrima and Arnis are the names primarily used in the Philippines today.
The name Kali is seldom used in the Philippines and in most cases is an unknown word.
##### The FMA are known as being weapon arts.
What about empty hand skills ?
Most people think the FMA are stick fighting arts only. This is a common
misconception because the rattan sticks are one of the primary tools used
in training. They do exploit the sticks for combat, but that is not all there is to
the arts.
The FMA are equally based in weapon skills and empty hand skills
(such as kicking, punching, trapping, and grappling). The FMA cover all
the fighting ranges, defending against armed and unarmed attacks with
whatever is available.
What is available maybe the rattan sticks or it could
be other types of weapons or just the fighter's vacant hand skills. The FMA
teach the interrelationship between empty hand skills and weapons.
Therefore the FMA should be considered a complete martial arts system
that develops many diverse types of skills for combat, not just simply a
stick fighting art.
Keep in mind that there are also other FMA that do not involve the apply of
stick fighting as a development method.
Dumog, Sikaran, and Panantukan are
examples of FMA that are based on empty hand skills only.
##### Why are the FMA considered simple arts (un-complex) ?
When the FMA are referred to in this manner they are discussing the
systematization, not the effectiveness of the arts.
The FMA were designed
to be simple to learn. The arts were originally used to train fellow
villagers in a short period of moment for combat against other villages and
foreign invaders. There was no time or reason to instruct flashy techniques
nor techniques that required special abilities.
Only the skills that were
proven effective and could be easily taught were used. The people who
were learning this art depended on its effectiveness and simplicity for
their survival. They were generally not martial artists or soldiers, just
villagers who had to defend their land.
Some of these people had no
natural talent for fighting. They had to become proficient or perish in
battle. There was no period to teach a detailed and complex martial art if
the village was under immediate threat.
Therefore, good generic methods
and solutions needed to be taught in the quickest time possible. This
philosophy of simplicity is still used today and is the underlying establish of
the FMA.
##### Why is it often said that "more is not better" in the FMA ?
In keeping with the philosophy of simplicity, most of the techniques are
taught early in development.
This is an important key to the FMA. The student
can pick what works for him and create his own way of combat. The
basic principles are more important than raw numbers of technique. The
difference between an older practitioner and a newer one is not the
knowledge of greater numbers of techniques, but rather the skill in
executing a smaller number of personally selected techniques.
“Grand Old Man of Kali” - Floro Villabrille. Villabrille was the most revered and feared fighter and champion of numerous stick-fight-ing death matches in the Philip-pines and in Hawaii. From the time of the Span-ish invasion to a limited decades ago, Kali was a closely guarded secret that was passed on from teacher to student and from father.
Each FMA
practitioner keeps a small core of basic techniques that can handle many
different types of situations. Keeping it simple is one of the underlying
principles of the FMA.
##### Why are the names of techniques so different ?
Each practitioner having personal variations on technique explains why
the FMA techniques have very generic descriptions to the names.
The core of
the arts are the same, just the variations are different. This is especially
true when the FMA are compared to many of the Japanese martial arts.
Also accept into account, that there are 7, islands in the Philippines.
Each has its own dialect and on many islands a distinct language from its
neighboring islands.
One simple technique can have thousands of names and they
are all right.
##### Some of the basic principles of the FMA
* Only the skills that are proven effective and can be easily taught are used.
* Keep the overall strategy simple.
* Each FMA practitioner keeps a small core of basic techniques suited to him.
* Many theories for weapon and empty hand are interchangeable.
* Always keep the flow going.
* Use angles to minimize the opponents attack.
* Use center line off the angles to attack.
##### Are the FMA composite arts ?
Absolutely.
If the idea is to use only what works, then new methods are
always considered. Some of the techniques are discovered independently, some
were taken from other sources.
Sources for other arts being incorporated into the FMA.
1) Peaceful culture trade - The Philippine Islands are strategically located
in the center of the trade routes.
This creates opportunities to be exposed
to many different cultures and their martial arts.
2) Defense - The Filipinos had to defend against many foreign invaders and
also often fought between themselves.
Techniques were developed to either
counter or duplicate combat skills of the enemy.
##### What are the characteristics of the FMA ?
The characteristics of the FMA vary from style to style. The spectrum
below indicate where the FMA stand in relation to other arts.
These levels
of characteristic are general for each art. There is really no way to
specifically label each art other than in general terms. At one moment the
art may appear sequential, but at another moment emerge very much circular.
I
have listed the general characteristic of each art.
SPECTRUM OF CHARACTERISTICS
Symbol | Martial Art | General Classification
* | Filipino Martial Arts | sequential, external, hard/soft
0 | Shotokan Karate | linear, external, hard
% | Tai Chi Chuan | circular, internal, soft
Circular[%*] Linear
Internal[--%*] External
Soft [-%*] Hard
##### Why are triangles and circular or semi-circular moves frequent to the FMA ?
Triangles are an important symbol in the FMA.
The triangle is one
of the strongest geometrical structures and is used in the FMA to
represent strength. Many schools incorporate the triangle into their
school's brand. The triangle is also used to describe many theories
in the FMA.
Some of these theories are footwork, stances,
foundations of disarms, and theories of attack.
The circular aspect of the FMA can be easily seen in Kali Villabrille/
Largusa system, wherein they zone out of the attacking angle.
However,
the most glaring example of the circular moves in FMA is in the empty
hand disarms or in their foot sweeps.
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* TECHNICAL ASPECTS OF THE FMA
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##### What is the "live hand" ?
A VERY important concept in the FMA
The live hand is the opposite hand that does not contain the main
weapon.
If you are right handed, it is your left hand. It is referred to as
being alive because it is used actively in combat for checking, blocking,
striking, and as support to the disarms and locks.
In many of the
techniques, the alive hand is the major contributor to the success of the
technique.
"The dwell hand is the real weapon." - Dan Inosanto
Bantay-Kamay (The Reside Hand)
The Bantay-Kamay (lit.
guardian hand) is the secondary weapon in the FMA.
In a Solo Baston (single stick) situation, it is the empty hand, the Dagger
hand in Espada y Daga and the auxiliary/secondary baton in Double Baston.
Use of the Bantay-Kamay is developed during free-flow drills.
The Bantay-Kamay
may take the following functions/actions:
1. Pigil (Jamming) - stopping a strike or attack
2. Paayon (Flowing - Go with the force) - redirecting a strike
3. Suntok-Tusok (Punch or Thrust) - a secondary attack during Solo Baston
or Multiple weapons drill/engagement.
Also established as Sogo (Spearhand attack).
4. Dukot-Batok (Head Lock or Grab) - a grappling or throwing technique
during Solo Baston engagement. May also be executed in Multiple Weapons
environment by using the Punyo (butt or pommel).
5.
Sampal-Kalawit (Palm Strike or Hook) - a palm-strike or hooking
technique leading to a take-down during Solo Baston engagement. May also be
executed in Multiple Weapons environment by using the blade portion (near
the hilt) of the stick or weapon.
6.
Saplit (Centrifuge Disarm) - a complimentary technique leading to
disengagement or disarm of the opponent's weapon(s).
7. Concierto (Coordinated/Tandem Weapons/Hands) - a blind side or
inside technique that uses the Bantay-Kamay in coordination with the
primary weapon to execute a simultaneous counter-attack and control.
8.
Hawak-Sunggab (Hold or Grab) - the restraint of the opponent's weapon
hand for the subsequent execution of a counter or a disarm.
There are many more variations and definitions regarding the use of the
Bantay-Kamay, but they can be classified under two general classifications:
1.
Salisi - (Opposite Directions)
a. Salising Papasok aka Salisok
(Opposite Directions - Inwardi, aka Ops-in)
b. Salising Palabas aka Salibas
(Opposite Directions - Outward, aka Ops-out)
in addition the movements are classified as :
- Planchada (Horizontal)
- Aldabis or San Miguel (Diagonal)
- Bagsak or Bartikal (Vertical)
2.
Concierto (Coordinated/Tandem Movement
a. Papasok (Inward)
b. Palabas (Outward.
These classifications are descriptive of the relationship of
the counter to the attacker's striking arm. If the attacker's arm or weapon
is pushed towards the attacker's body, it is classified as inward and
vice-versa.
##### What is the cane they are talking about ?
The FMA sometimes refer to the rattan stick used in training as a cane.
The
standard cane is usually between 17" to 30" in length. Preserve in mind that all
lengths of sticks are also used in training, from 4" to 6'.
##### What is sinawali, espada y daga, solo baston, crossada ?
These are descriptions of the methods of using weapons in combat
Sinawalli is the weaving pattern a practitioner uses when working with two
weapons.
These patterns are commonly used as a drill to teach coordination of
both hands. When the player can perform sinawali well enough by themselves,
they relocate on to perform the drill with a partner.
To accomplish the drill with a
partner, the two players face each other a go through the drill symmetrically.
When this can be done well enough, the players cast variations and movement
into the drill.
In the end, the drill becomes a type of sparring exercise.
Because of the way the players work together in these drills, sinawali is
sometimes referred to "give and take" drills in many of the FMA styles.
Below are descriptions of there sinawali drills.
The first two are common to
most of the FMA.
+++++++++++++++++++++++++++++++++++++++++++++
+
+ rh = right hand
+ lh = left hand
+ sbs = snap back strike
+ fts = follow through strike
+
+ Ready chamber position.
+ Start with lh under right arm,
+ rh over right shoulder
+
+ Target levels can be any level.
+
+ Sample Numbering system
+ #1 - left head
+ #2 - right head
+ #8 - right knee
+ #9 - left knee
+
+++++++++++++++++++++++++++++++++++++++++++++
FOUR COUNT
1) rh to left temple (#1 fts strike)
lh weaves out during #1 to chamber over left shoulder
2) rh to strike to right knee (#8 sbs strike)
returns to chamber under left arm, back in ready but opposite side
3) - 4) Same as above but reversed.
SIX COUNT
1) rh to left temple (#1 fts strike)
returns to over left shoulder
2) lh to left temple (#2 fts strike)
returns to over left shoulder as #3 starts
3) rh to right temple (#2 sbs strike)
returns to under left arm, back in ready but opposite side
4) - 6) Same as above but reversed.
TEN COUNT
1) lh to left temple (#2 sbs strike)
returning lh to right shoulder as rh leaves for move #2
( ie left will be on top)
2) rh to left temple (#1 sbs strike)
returning rh to same position as lh leaves for shift #3
3) lh to left temple (#2 sbs strike)
Same as #1 move but lh returns to chamber under right shoulder
4) rh to left temple (#1 fts strike)
rh returns to left shoulder
5) lh to left temple (#2 fts strike)
lh is returning to left shoulder chamber replacing the rh.
The rh
will start to do a number #2 strike and is weaving in between the lh
coming to chamber and your head. The rh going to a #2 strike will start
move #6. At this aim the sinawali is the alike but reversed.
6) - 10) Alike as above but reversed.
##### What is espada y daga ?
Espada y daga is the way of using a stick(sword) and dagger in
combination.
The sinawalis can be considered espada y daga if all the
variations of sinawali weapons are considered. However, Espada y daga
generally refers to a more linear sword and dagger approach similar to that
used in European sword arts.
##### What is solo baston ?
Solo baston is the method using only one stick with empty hand strikes in
combat.
Strong use of the alive hand is noted.
##### What is crossada ?
Crossada is Filipino for crossing. It is a the method where weapons or empty
hands are used in a crossing pattern for simultaneous offense and defense.
It
is similar to other martial art's X Block, however it is not a static block.
It involves movement and angling to defend against the strike. There is a
slight trap at the moment of intersection at which time the charge is given.
This all happens in one movement.
This is one of the primary ways the flow is
established during combat. It give the opponent no period to react because there
is no break during the defensive and offensive moves.
##### What are ranges of combat ?
There are many ranges to combat and each one of the FMA has its own
method of labeling and numbering them.
Some styles can have as many as
16 ranges defining all types of combat. Below is an example of two. The
first is the four ranges which are commonly used to explain simple ranges
in relation to other martial arts. The second is an example of ranges for
stick vs.
stick fighting. There are many different types of ranges in the
FMA. Each style uses different types to utilize the style's strengths and
explain its method.
TYPICAL EXAMPLE OF COMBAT RANGES
1) WEAPONS - No hollow hand technique can hit therefore only weapons are used.
2) KICKING / PUNCHING - Typical range for Karate / Tae Kwon Do / Kung Fu.
3) TRAPPING - Trapping, close punching, elbows, head butts are used in this
range.
4) GRAPPLING - Typical Wrestling / Ju-Jitsu / Chin Na / Aikido
EXAMPLE OF WEAPON RANGES WITH STICKS
1) FAR - you can hit you opponent's hand with the end of your stick as he
strikes.
2) MEDIUM - you can now check your opponent's hand with your reverse hand.
3) CLOSE - you can now hit the opponent with the butt of your stick.
##### What are the 12 angles of attack ( also famous as 12 strikes ) ?
The twelve strikes/angles are common to most FMA styles.
They are the
basic strikes or direction of strikes covering all angles of attack. Most
styles use basically the same numbering system with slight variation. The
point is to understand how to dissect and classify the strikes and develop
methods of defense and offense using these 12 angles.
At an advanced
level the student should learn the similarities of the these 12 angles and
further simplify classification and responses to their attacks. The first five
angles are common to many of the styles.
There is usually one set of numbers used for defensive angles and offensive
strikes.
These numbers are based on attacks with the right hand only.
As an example
A backhand strike with the right hand would be a number two strike
coming in at angle #2 ( therefore 2 at 2 ).
If the same assault is done with the left hand the strike is still a
number two however it is at angle #1( therefore 2 at 1 ).
##### What is the flow ?
Obtaining the ability to flow in combat is the ultimate goal of a FMA
practitioner.
A student of the FMA attempts to smoothly proceed between the
ranges of combat without any disturbance in the transition. This requires
skills in all four of the ranges ( with and without weapons) , the ability to
put motion and way together continuously, and the sensitivity to fit
your technique to your opponent's.
These attributes create a smoothness
in combat which is called the flow.
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* STRUCTURAL ASPECTS OF THE FMA
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##### What type of structure is the class usually taught by ?
This is a matter of the instructors preferences, however most classes are
taught in an informal manner.
Grandmaster Floro Villabrille (1912 - 1992) - FMA Pulse: Grandmaster Floro Villabrille is the undefeated champion of countless Kali and Eskrima stick fighting death-matches in the Philippines, Australia and Hawaii. In the ’s, Kali [ ].This is especially true when compared to
some of the other more traditional Asia martial arts.
##### Complete the FMA use a belt ranking system ?
The FMA until recently did not use a belt ranking system like other martial
arts.
Belt rankings and instructor-ship rankings are now becoming more common
in many of the FMA styles.
The FMA are becoming more popular then ever. There are more students, styles,
and instructors.
As such, the current trend is to systematize and organize FMA
schools in hopes of propagating the art and maintaining high standards within
the organizations. Ranking is becoming more common within some styles.
Other
styles still maintain the philosophy of not using a ranking system.
##### What about uniforms ? Are they standard ?
Uniforms are not always used. There is no standard uniform like there is
in Karate or Judo.
When uniforms are used, there are usually a
combination of karate uniform or sweat pants, a t-shirt, and sometimes a
traditional vest is worn. The style worn can even vary within a institution or
system.
##### Why are shoes worn most of the time in training ?
Shoes are worn most of the time during practice for two purposes.
1) To safeguard the feet from damage from projected or dropped sticks
2) To train in clothing that in worn in everyday life
##### Will I get a good perform out practicing the FMA ?
That will depend on your instructor and style.
Some instructors will work
students harder than other styles or instructors, some don't. Most of the
instructors practice the FMA as a second art. Therefore they rely on the
primary art for the hard workout and teach more skill development while
teaching FMA.
One thing is certain, if the basic cane strikes are practiced
often and correctly then there will be a striking difference in forearm and
wrist force. When selecting an instructor work-out intensity would be a good
question to ask.
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* INSTRUCTORS AND STYLES
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I don't believe this section of the FAQ will ever approach close to being
completed because of the quick and constant transform in the FMA.
Any information that you may have would be appreciated.
If you have
information dispatch it to the aforementioned email address. Please research the
information as well as possible for accuracy.
The history of the FMA is hard to trace, especially when it comes to the
three W's ( Who did What When ).
I have used data from books,
other instructors, and those people who were good enough to email
information about their design and instructor. Since the communication on
instructors and styles is a mix of the information I collected from various
sources, I perform not claim that it is % accurate.
The instructors and styles
listed are responsible for the recent growth of the FMA. I have NOT listed
them in any arranged order of importance and as I said, the listing is not
yet complete.
Most of this information was sent to me by students of the
listed instructor. I compile similar information, edit it, and group it
for presentation. I do utilize complete sections sent to me if they are written
well and can be mixed into the presentation.
I hope this section will be more complete in future revisions.
For now, please
accept it as uncompleted work.
Notes:
I don't realize all the styles of the instructors. If there was no style to
list then the art may have been labeled either Arnis, Eskrima, or Kali.
Spelling - Eskrima is the same as Escrima.
Eskrima is the older spelling.
Both are used throught this FAQ.
The styles/systems discussed are:
Babao Arnis
Balintawak International
Balintawok
Black Eagle Eskrima
Bohol Method
CCEKA
Combat Kalaki Arcanis
De Cuerdas
Defensor Method
Derobio
Doblete Rapillon
Doce Pares
Dog Brothers Martial Art
Escrima/KunTao/Silat
Eskrido
Eskrima
Estrella
F.A.T.E.
Filipino Boxing and Dumog
Garimot Arnis
German Arnis
Inayan System of Eskrima
Inayan Systems International
Inosanto Kali
Kadena de Mano
Kalis Ilustrisimo
Kombatan Arnis
Kun Tao Silat
Kuntaw Lima-Lima
Lameco
Lapu Lapu Vinas Arnis
Lightning Scientific Arnis (Lema Scientific Kali Arnis)
Modern Arnis
Modern Arnis 80 (MA)
Moro-Moro Style
Moro-Moro Orabes Heneral
Oido de Caburata Arnis
Pananandata
Pangamot
Pekiti-Tirsia
Pronus-Supinus Cadena De Mano
Rapido Realismo Martial Arts
San Miguel Eskrima
San Miguel Eskrima Asosasyon of Cebu
Sayoc Kali
Serrada Escrima
SLD (Serrada, Largo Mano, De Cuerdas)
Sudlud Eskrima
Tapado
Toledo-Collado
Vee-Arnis-Jitsu
Villabrille System
Visayan Style
Warriors Eskrima
Yaw-Yan
The major players shown are in no particular order.
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Babao Arnis
Narrie Babao
The personal style of Narrie Babao.
Based on Doce Pares, Villabrille Kali,
Kuntaw, and Karate.
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Balintawak International
Venancio Bacon ()
Balintawak International Self-Defense was founded in with Venancio Bacon
as its grandmaster.
GM Bacon later formed another style under his own name,
but Balintawak International continues on.
major players : Jose Villasin, Teofilo Velez, John Chiuten
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Balintawok Escrima
Bobby Taboada
Taboada's Balintawok Escrima is a style that incorporates many styles of
Escrima and Filipino boxing.
In the FMA, it was no less than Grand Master Floro Villabrille, the late undisputed champion of escrima death matches who attested that mental training played an crucial role in his success as a fighter. I pretend my enemy is there. I fantasize being attacked and in my imagination I fight for genuine. I keep this up until my mind is ready for the kill.It also contains many elements of the Doce Pares
style. It is a approach strongly based on speed. The primary training tool
is the unattached stick. It has a singular training method that allows its
players to do drills that are much quicker and closer to the training
partner than many other styles of FMA.
major players : Irwin Carmichael, John Larson, Dean O'Hare, David Russel,
George Manderatlias, Randy Cornell
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Black Eagle Eskrima
Carlos Navarro ()
A system founded in the styles of Eskrima de Llave, Eskrima de Avanico
and New Generation.
The techniques, training and applications of Black
Eagle are trained and employed through solo and paired drills to cover
long, medium and small ranges.
The weapons of Black Eagle Arnis-Eskrima include the single stick,
double stick, staff, single dagger, double dagger, short sticks, chain
and vacant hands.
The style also incorporates the use of swords and sword
drills and a flail called 'de Cadena'.
The drills for each category are sub-grouped into the three styles that
make up the basis of this system: Eskrima de Llave (the key), Eskrima de
Avanico (the fan), and Novel Generation.
It should be noted that these
styles are not taught as isolated entities, but rather as conceptual
components embodying elements of what once were separate systems.
Pangamot is the term used to describe the Black Eagle vacant hand
component.
It includes extensive locking techniques focusing on the
wrist, arm and shoulder, but finger locking remains a black eagle
specialty. Eye-catching techniques incorporate punching, elbows, subdued line
kicking and also knees.
Pangamot also includes leg reaps and sweeps, and
throwing exercises called four direction throws. Black Eagle Pangamot
also includes a limited groundfighting capability with various leg and
arm locks.
Rank in Black Eagle Eskrima is divided into four levels: Beginners,
Junior Instructor, Senior Instructor and Master.
Progression through the
ranks is in most cases a matter of talent, and not dependant on how long
a student has been a practitioner of that art (such as is the case in
other systems). Advanced students can learn various parts of the
curriculum at any time they enjoy.
There is no strict progression in the
teaching of Black Eagle eskrima, and thus, no arrange time limits to class
length or achievement of rank.
major players : Epping Atillo, David Tsang, Jerry Collins, Graham Jamieson,
Ming Lee, John Taylor, Miles Henderson.
*************************************************************
Bohol Method
Regino Ellustrisimo
Regino Ellustrisimo was the uncle of Floro Villabrille.
major players : Al Concepcion, Dan Inosanto
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CCEKA
Nonoy Gallano
The Classical Combat Eskrima Kali Association is an international
network of schools consecrated to the teaching of the FMA.
The
association's approach to this fighting art is holistic in nature. It
encompasses not only the physical techniques of Kali but also places
emphasis on Oriental philosophy and Meditation practices. Complete
discipline and moral/spiritual growth are heavily stressed.
*************************************************************
Combat Kalaki Arcanis
Jan Nycek ( - )
An eclectic, fairly new FMA system.
Combat Kalaki was founded by
Jan Nycek in in Olesnica near Wroclaw (Poland). A combination
of Kalaki Arcanis, Doce Pares, Aiki Jitsu, BAS-3 (system for special
forces of army and police), Boxing and Kickboxing.
Since the Combat
Kalaki by definition is for self defense, the training is for practical
usage in every day reality.
major players : Krzysztof Gajewski, Artur Niezgoda, Andrzej Grajczyk
*************************************************************
Defensor Method
Nate Defensor
A mix consisting mainly of Serrada, Pekiti-Tirsia, and Villabrille systems,
with a strong mixture of specific elements from silat (mainly the takedowns),
muay Thai, and western boxing.
major players : Rich Draney, Ed Kuliess, Dale Hinton, Greg Goldmakher
*************************************************************
De Cuerdas
Gilbert Tenio ()
A quick, very basic, but effective style of Eskrima.
major players : Richard Tenio, Arthur Gonzalez Sr., Dentoy Revillar, James Muro, Wayne Caseria, Richard Van Donk
*************************************************************
Derobio Escrima
Braulio Tomada Pedoy ( - )
Derobio is based on passing, either with the stick or hand, as opposed to
directly blocking the attack, once passed the emphasis is on controlling with
either locks and/or disarming.
12 locks are taught for each pass on the 12
angles of attack and up to 12 counters for each lock and/or disarm. Each pass
is also taught with what is called the "Basic 3" which is 3 strikes always
done across the body high, low, middle.
The way is close range and is good for
"self defense" against a skilled or unskilled opponent. The style has a lot to
offer against a heavy weapon that might possibly not be stopped with a direct block.
Brauilo Pedoy opened his first Escrima institution in in Hawaii.
major players : Eduardo Pedoy, Christopher P.
Siangco, Tyrone Takahashi, Michele Navares,
Carlton Kramer, K. Peacock, P. Schmall, Ron England, L. Castillo, Chaz Paul Siangco
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Doblete Rapillon (AKA Mena Style)
Patricio Mena
A style that emphasizes multiple attacks which are quickly delivered
without gaps or openings.
major players : Jose Mena
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Doce Pares
Tirso, Eulogio "Euling", Silvestre, Felimon "Momoy", Rufino, and
Ciriaco "Cacoy" Canete with Lorenzo, Teodoro "Doring", and Fredercio Saavedra.
The current head and President of Doce Pares is Cacoy Canete ( ).
Doce Pares is a earth leading organization of the traditional Philippine
martial art known as Eskrima or Arnis - stick fighting.
Magellan's
sword-wielding conquistadors fell to Maharaja Lapulapu who used Eskrima to
defeat the Spanish at the battle of Mactan. Doce Pares is the home of the
most renown expert of the art, Grandmaster Ciriaco "Cacoy" Canete.
In the tardy 's, eskrima attained a lofty level of popularity in Cebu
City, the second largest city in the Philippines (Cebu island is located in
the center of the Philippine archipelago).
In , the most renown
eskrimadors, mainly from Cebu, founded Doce Pares as a society to promote
the only authentic native martial art of the Philippines. The name Doce Pares
reflects the Spanish influence on the Philippines and signifies "Twelve
Pairs," referring to the twelve basic strikes and twelve basic defenses of
eskrima.
Since its beginning, Doce Pares has produced many champions in eskrima
competitions.
Great Grandmaster Floro Villabrille [] is the undefeated champion of countless Kali and Eskrima stick fighting death-matches in the Philippines, Australia and Hawaii. In the ’s, Kali and Eskrima stick fighting matches were full-contact bouts where the combatants were not aided by the use of body armor, pads or headgear.
At the founding of Doce Pares, Lorenzo Saavedra, then
recognized as the foremost eskrimador in Cebu City, became its first famous
Grandmaster. He was ably supported by three other top-rated masters: Teodoro
and Frederico Saavedra - Lorenzo's nephews - and by Filemon Canete.
Later,
Master Teodoro Saavedra rose to prominence as the best fighter in the Doce
Pares society. Master Eulogio Canete, Filemon's older brother, was elected
first president of Doce Pares and remained in that position until his death
in
During World War II, Master Teodoro Saavedra, an active guerrilla, was
captured and killed by the Japanese occupying forces.
Shortly after
Teodoro's death, Master Ciriaco Canete, also a resistance fighter, emerged
as Doce Pares' foremost fighter and innovator. In the early 's, eskrima
techniques and tactics were analyzed, devised, modified and systematized by
Master Ciriaco Canete, based mostly on actual combat experience with rival
eskrimadors belonging to other associations.
Among his many contributions to
the development of this martial art is eskrido, a combination of Judo and
eskrima techniques, as well as the most modern forms of eskrima-offense and
eskrima-defense.
Since its founding, Doce Pares has enjoyed a special reputation among
Philippine martial arts organizations as the developer and innovator of the
newest styles and techniques in eskrima.
The Doce Pares style is now
identified as the modern forms of eskrima and variations of eskrima such as
escrido and specialized defenses against knives, pistols, etc.
Doce Pares maintains its headquarters in Cebu City, Cebu, The Philippines,
just a few miles from the site where Lapulapu used eskrima to defeat the
Spanish conquistadors of Magellan in The headquarters is the site of a
training gym and is a frequent rendezvous point for eskrimadores and martial
artists from throughout the world.
All martial artists are warmly invited to
visit the Doce Pares headquarters either while on tour of the Philippines as
a vacationer or as a student or observer.
Doce Pares
81A a St.
Cebu City, The Philippines
Tel: () OR () (Doce Pares, the Philippines)
Fax: () (Doce Pares, USA)
docepares
major players : Richard Bustillo, Primo Albano, Saturnino Arcilla, Nonito
Limchua, Sal Kalinga, Emilio Lapurga, Aniceo Suan, Felix Yap, Narrie
Babao, Florencia Cautiverio, Wally Estropia, Danny Guba, Tom Meadows.
*************************************************************
Dog Brothers Martial Arts
Head Instructor: Marc Denny
The three principle FMA roots of this "system of many styles" are
Inosanto Blend, Pektiti Tirsia, and Lameco.
The system evolved out of the
fighting experience of a band of sweaty, smelly, psychopaths with sticks
known as the Dog Brothers. Fighting with unusually little gear (fencing
masks and street hockey gloves only) and the only governance of "be friends at
the terminate of the day", since the Dog Brothers have looked to push the
envelope.
The system has an outer range game, a crashing game, a midrange game,
and standing grapple game, and a ground grapple game. Some of the
distinctive features of the system are its use of 6 ranges, an emphasis on
developing ambidexterity with the stick as a prelude to the emptyhand
skills of the system, that knife and disarms receive somewhat less
attention than in many FMA systems, and for a FMA system, there is an
unusual amount of grappling.
When a stickfight goes to the ground is when
"DB stickgrappling" comes into play. DB Stickgrappling is a blend of FMA,
Brazilian Jiu Jitsu and some Bando Python Stick. The system also draws
upon Krabi Krabong, the weaponry forerunner to Muay Thai.
Major Players: Eric "Top Dog" Knaus, Marc "Crafty Dog" Denny, Arlan "Salty Dog" Sanford
*************************************************************
Eskrima
Jack Santos
A style based on strong entry skills.
Very hard and linear.
*************************************************************
Eskrima/KunTao/Silat
John LaCoste
Style that is noted for fluid footwork with crisp entries. Lacoste was
the recognized senior/leader in perhaps the largest Filipio community in
the USA in the s/70s; Stockton, California.
major players : Al Concepcion, Dan Inosanto
*************************************************************
Eskrido
Ciriaco "Cacoy" Canete ( )
A combination of Aikido, Judo, and Doce Pares Eskrima.
*************************************************************
Eskrima
Felicisimo Dizon ()
Felicisimo Dizon was taught Eskrima by 'the old man of Cebu' and Princess
Josefina, 'the Blind Princess', of the Pulahane tribe of Gandara, Samar.
Dizon and Floro
Villabrille were friends and teaching partners. Angel Cabales was a student of Dizon.
Some claims acquire been made that Dizon's approach was named De Cuerdas,
but those with long-term direct contact with Dizon's student Angel
Cabales claim that Dizon simply called his approach Eskrima.
The videotape 'Sticks of Death', which is an interview with Angel Cabales,
Angel never makes any mention of De Cuerdas when he talks about Dizon.
Angel states that "he learned Serrada" from Dizon and then enhanced it.
major players : Angel Cabales ()
*************************************************************
Estrella
Mauricio Fabia ()
Basic Philosophy of Estrella:
The three fundamentals of the art are Distancia, Compas and Decision.
Although they sound simple, they are not.
Distancia refers to maintaining the right distance to your
attacker which will create you safer and give you more time to
make your control decision. It is also refers to understanding
your distance and connection to the world and those around
you, to control your surroundings.
Compas refers to proper timing.
This is not only means timing
as a fighting aspect, but also as the right time to act.
Decision refers to making a decision, but it also refers to the
ideas of loyalty and discipline.
By making your decision you
must then stick to what you have chosen and see it through.
major players : Saturnino Quinto Fabia, Alfonso Quinto Fabia, Bernardo
Fabia Salinas, Flaviano g, Fortunato Rebualos, Cipriano Rebualos,
Marcelo Laurian, Quintin Malagayo, Manuel Quiros, Jerrick C.
Salinas,
Michele Zuccollo, Doug Klinger.
*************************************************************
F.A.T.E. - Filipino Martial Arts
Howard F. Bifson, Johnaleen K. Castro
The F.A.T.E.
organization's FMA system is a blend of Remy Presas's
Modern Arnis, Inosanto Kali, Doce Pares Eskrima, Kalis Illistrisimo,
JKD-JKDU concepts, Aikido and Ki Healing Concepts, GM Jim Morell's
Aiki Jitsu-Military Police Tactical System and Sgt.
V. A. Castro's
Combat Eskrima.
The system not only covers techniques and their application, but also
the abilities needed to educate different people. This involves not only
teaching toward one goal, but the ability to teach at each student's
level of contact and acceptability.
Also, making sure that reality based
issues are highlighted.
*************************************************************
Filipino Boxing & Dumog
Lucky Lucaylucay
Lucaylucay family Filipino Boxing and wrestling arts that are were taught
by Lucky's son, Ted Lucaylucay, prior to Ted's untimely death in
Ted taught it with Kali and Jeet Kune Do at his school.
*************************************************************
Garimot Arnis
Gat Puno Abon Baet
Garimot Arnis is founded by Gat Puno Abon "Garimot" Baet in July in
Miami, Florida.
Hmmmmm, you reflect to yourself. Who are these people? What are they doing? Where can I can fetch one of those cheerful yellow shirts?We now have instructors and contact people in different
states of the USA, Venezuela and the Philippines. We are the biggest
Arnis-Eskrima-Estokada Organization in Laguna, Philippines.
Practitioners of the martial arts that want to know more about the Garimot
System of Arnis-Harimaw Buno and Hilot should check
or e-mail at Gatpuno
major players : Shane Singh, Alfredo Sardinas, Glenn Harris,
John Aviles, Tex Liang, Michael Kobayashi, Andrew Ma, Alan Del Mundo,
Dennis Duria, Daniel Donzella, Tim Rivera, Yuri Jimenez, Goyo Baet,
Daniel Baet, Doy Baldemor.
*************************************************************
German Arnis (DAV)
Dieter Knuettel
Modern Arnis, that is based on the styles of Professor Remy Presas and GM
Ernesto Presas with influences from Suro Mike Inay.
It covers many aspects
of FMA: Sinawali, Modern singlestick, classical Arnis, empty hands, knife,
selfdefense and much more. It has a strong emphasis on economy of motion and
applying the same techique in different situations with unlike weapons.
It has many exercises and drills for automatisation and reflex
development/conditioning.
The style is taught as martial art and self
defense and does not teach competition fighting. It uses modern teaching
methods for easy learning.
major players : Hans Karrer, Jorgen Gydesen, Peter Rutkowski, Thorbjorn
Hartelius, Johan Skalberg, Alfred Plath, Helmut Meisel.
*************************************************************
Inayan System of Eskrima
Mike Inay ()
The Inayan System of Eskrima is composed of six FMA systems, with
three core systems.
The primary core system within the Inayan System
of Eskrima is Serrada, as taught to Mangisursuro Mike Inay over many years of
study with Serrada's Grandmaster Angel Cabales. Suro Inay also studied
extensively under Grandmaster Max Sarmiento (founder of Kadena de Mano) and
was the first recognized Master of Kadena de Mano under GM Sarmiento.
Each system in the Inayan System is taught in its entirety, following
the methodology of education the pure art first, then allowing each
student develop their control composite personal style.
The Inayan System is
"blade" oriented vs.
Grandmaster Floro Villabrille is the undefeated champion of countless Kali and Eskrima stick fighting death-matches in the Philippines, Australia and Hawaii. Combatants used the stick in the right hand and punched with the left hand. In close quarters, grappling, sweeps and throws were used. It was similar to the no holds barred fights of today except that victory was only declared when one of the combatants was either slain or demobilized."stick" oriented.
The following are the six systems taught in the Inayan System:
1) Serrada Eskrima as taught by the late GM Angel Cabales in the mids
and s.
- see style description elsewhere in this FAQ
2) Kadena De Mano
- see style description elsewhere in this FAQ
3) Sinawali
- spot style description elsewhere in this FAQ
4) Inayan Dequerdas
- Inayan Dequerdas is a mid-range style pressuring female-triangle
footwork and strong augmented blocks.
5) Espada y Daga
- see manner description elsewhere in this FAQ
6) Inayan Larga Mano
- A drawn-out range system of Eskrima.
Evolved to use a longer/heavier cane
(~40") and to use the cane as if it were a Kampilan, the longest
sword found in the Philippines. This style is credited as being
the first end formal style to teach the use of the Kampilan.
(The Kampilan was a weapon use by Lapulapu's men to kill Ferdinand
Magellan in )
The Inayan System of Eskrima also employs the obeying in varying degrees:
Solo/Doble Baston (single/double stick), Solo/Doble Punyal
(single/double dagger), Sipat (kicks), Sibat/Bankow (staff/spear),