November 22, 2010
TO: GURO ROHNEE GUMPAL
SITBATAN KALI SILAT
Dear Sir,
Greetings!!!
The promotion and propagation of Arnis enhance of sports, program and sealing off camaraderie among the players and sports enthusiasts. The Filipino Fighting Arts International (FFAI) in cooperation of International Modern Arnis Federation Inc. Philippines (IMAFP),Maceda Arnis Karate-do Assoc. of the Phil.(MAKAP)and Tipunan Intl.. Will conduct the 1st ANTONIO A.MACEDA ARNIS CUP 2010.
Dubbed Arnis Larong Pambansang Palakasan, Invitational Open Arnis Tournament, held on December 12,2010.at Antonio A. Maceda Integ. School campus. The event will start from 8:00 in the morning until 5:00 in the afternoon.
The goal is to build up arnis in support of the Republic Act 9850 declaring ARNIS as the to join and Philippines National Sports and National martial Arts in the country.
In regards with this project we invite you and your team, clubs or school.etc participate to this event.
Our main objective is to expose and train our fellow arnisador to become competitive and to build individual local and international exposure and recognition.
Thanks you and we are looking forward to see you and your team on this up – coming event.
Very truly yours,
GODOFREDO F.FAJARDO
FFAI FILIPINO FIGHTING ARTS INTERNATIONAL
Founder
IMAFP Council of Master Chairman
Project Committee Tournament Adviser
ARSENIO V. SANCHEZ
FFAI,
MAKAP,
Maceda Arnis Instructor Tournament Director
Sitbatan Kali-Silat taught by Guro Rohnee Tiong Gumpal Affiliated with FFAI Sec Reg #A199708484
Tuesday, November 30, 2010
Monday, November 29, 2010
Many of the readers may wonder what pencak silat actually is...
Pencak Silat in the Indonesian Archipelago
By O’ong Maryono
RAPID Journal, Vol. 4 No. 2, 1999
Many of the readers may wonder what pencak silat actually is...
In the Philippines, with its many martial art forms, pencak silat is still relatively unknown. And yet, pencak silat is part of our common Malay culture which covers Malaysia, Indonesia, Singapore, Brunei Darussalam, the Philippines and some small islands close to them. In all these countries pencak silat can be found although its name may vary. In Malaysia, people talk of “bersilat” to indicate their self-defense techniques comprising of more than 260 different styles. The same term is also used in Singapore and in South Thailand, while in Brunei Darussalam and the southern Philippines people use the shortest version of “silat”. In other Philippine regions, the term “pasilat” is also used. According to Mark Wiley, pencak silat entered the Philippines from Riau and together with the Chinese martial art of Kuntao influenced the development of “Kali”, which he and other martial art experts consider the “mother art of the Philippines” or the source of all martial arts in the country.
In my country, Indonesia, the official name used to indicate more than 800 martial arts schools and styles spread across more than 13,000 islands is “pencak silat”. However, this is actually a compound name consisting of two terms used in different regions. The work “pencak” and its dialectic derivatives such as “penca” (West Java) and “mancak” (Madura and Bali) is commonly used in Java, Madura and Bali, whereas the term “silat” or “silek” is used in Sumatra. The ambition to unify all these different cultural expressions in a common terminology, as part of declaring Indonesia’s unity and independence from colonial power was first expressed in 1948 with the establishment of the Ikatan Pencak Silat Indonesia (Indonesian Pencak Silat Association, IPSI). However, it could only be realized in 1973 when representatives from different schools and styles finally formally agreed to the use of “pencak silat” in official discourse, albeit original terms are still widely used at the local level.
The richness of terms reflects a wide diversity in styles and techniques across the regions due to the fact that pencak silat has been developed by different masters who have created their own style according to their preferences and to the physical environment and social-cultural context in which they live.
Let’s take as examples West Java, Central Java and West Sumatra. West Java is inhabited by a specific ethnic group with specific cultural and social norms. For them, pencak silat is part of their way of life or as they say is “the blood in their body”. In their language they say “penca” or “menpo” (from ‘men poho’, which literally means play with trickery) to indicate their four main styles Cimande, Cikalong, Timbangan and Cikaret and all the schools and techniques which have derived from them.
The Sundanese people have always utilized ‘penca/mempo’ for self-defense and recreation, and only recently have started to use it as a sport in national and regional competitions. In its self-defense form, using hand fighting techniques combined with a series of characteristic footsteps such as langka sigzag (zigzag step), langka tilu (triangular step), langka opat (quadrangular step) and langka lam alip, penca can be very dangerous.
Penca as art (penca ibing) has been a source of inspiration for traditional Sundanese dances, such as Jaepongan, Ketu’tilu’, Dombret, and Cikeruhan and actually it resembles dance in its use of music instruments. These instruments called “pencak drummers” (gendang penca)are devoted exclusively to penca performances and consist of two sets of drummers (gendang anak dan kulantir), a trumpet (tetet) and a gong. Pencak performances also use standard music rhythms, such as tepak dua, tepak tilu, tepak dungdung, golempang and paleredan. Penca as art is not considered dangerous and can be openly shown to everyone. From generation to generation until today, penca performances animate wedding parties, rituals of circumcision, celebrations of the rice harvest and all kinds of national festivities.
In contrast, in West Java and Central Java, Javanese people have traditionally used pencak only for self-defense and are not inclined to show it in public. Furthermore, the spiritual aspect (kebatinan) is much more dominant. This is probably related to the fact that pencak silat in Central Java developed from the Sultanate of Yogyakarta and later expanded to surrounding neighborhoods after the kingdoms lost heir political role in the 15th and 16th centuries. In the keraton (Sultan’s palace) pencak silat had undergone a transformation from pure martial art to be used in combat, to an elaborate form of spiritual and humanistic education. In this later form it spread outside the keraton walls where it developed the use of self-defense techniques to reach spiritual awareness as well as the use of inner powers to attain supernatural physical strength.
Again pencak silat in West Sumatra is a different cultural expression in both its forms and meaning. Similarly to West Java, in West Sumatra a distinction is made between self-defense, called sile’ or silat, and the related version called pencak which has influenced many traditional dances such as Seewah, Alo Ambek and Gelombang. The ethnic group of Minangkabau who lives around the Merapi Mountain in West Sumatra regard silat as their village’s heirloom (pusaka anak nagari) which is meant for the youth to defend themselves while travelling ashore and it is not intended for outsiders. Instead pencak as a dance is accessible to everybody. In this region almost every village (nagari) has a different style (aliran) of silat as reflected by the many names, some of which refer to the founders (like Silat Tuanku Ulakan, Silat Pakik Rabun, Silat Malin Marajo) and some to the original locations where the style was developed (Silat Kumango, Silat Lintau, Silat Starlak, Silat Pauh, Silat Painan, Silat Sungai Patai and Silat Fort de Kock). These styles can be classified into two main groups according to their foot-stands (kuda-kuda) they use. In the coastal area, silat styles use a very low kuda-kuda and prefer hand techniques whereas in the mountain area the kuda-kuda is higher and foot techniques are dominant. This is due to the different environments in which silat has developed. On the sand, a high kuda-kuda would not be stable and in the mountain, where the ground is oblique and uneven, a low kuda-kuda would be impossible to practice.
As a Minagkabau proverb says: “Alam takambang menjadi guru” (the surrounding nature is our teacher).
These styles and regional diversities are only few arbitrary examples to show what a rich cultural phenomenon pencak silat is in Indonesia. Much more needs to be said about its origin, history, techniques and social role, but this will be for another time….
Copyright © RAPID Journal 1999
WHAT IS THE KARAMBIT?
by Steve Tarani
The Karambit can be traced from Sumatra to Malaysia and Java. The Kerambit of Lombok, is traditionally a larger or “battlefield sized” Kerambit and is much larger than its more personal-sized Javanese cousin. There is also another variation of the Kerambit hailing from neighboring islands. There are also many different shapes and designs of the Kerambit such as Rajawali (bird head shape) and others which include protruding spurs used for tearing flesh in the heat of battle. The Kerambit is also referred to as the Kuku Bima (literally “the claw of Bima”). Pre-12th century influence as a result of Hindus settling in Indonesian archipelago, brought the Mahabharata (“great epic of the Bharata Dynasty”) and the Ramayana, (two major epics of India, valued for both high literary merit and religious inspiration), to Java. Contained within the Mahabharata is the Bagavadgita (“the Lord’s song”) which is the single most important religious text of Hinduism. Bima is a character from the Mahabrapta. Also known as Kuku Hanuman (literally “the claw of Hanuman” -a character from the Ramayana), the Kerambit, magical claw which protrudes from between the center of the hands of Bima and Hanuman, has become the weapon of the traditional arts of the Southeast Asian archipelago namely Pencak Silat.
Traditionally spelled either "KERAMBIT" or KARAMBIT" this amazing and ancient artifact can be used as a utility tool and as the last line of personal defense in a close quarter altercation. The first question that comes to mind is “What exactly is a Karambit?” The Karambit can be defined as a small hand-held, curved fixed blade carried for utility purposes and for personal safety purposes. Similar to the relationship of the Pugio (Roman Dagger) to the Gladius (Sword of the ancient Roman Legions), the Daga to the Espada (Spain), the Wakazashi to the Katana (Japan) or the Dirk to the Basket-hilt (Scotland), the Main Gauche to Le Sabre (France) and the Dagger to the Rapier (England) the Karambit is considered a “backup” or “partner” in personal utility as well as personal defense.
The combination of the original design of the tiger’s claw combined with the hand weapons of the ancient characters of the Mahabharata and the Ramayana– the Kuku Macan, Kuku Bima or Kuku Hanuman has evolved into what is known in modern times as the Karambit. It is now recognized internationally as a traditional weapon of Pencak Silat.
Traditionally, in ancient times, when a fighter unsheathed a battlefield-sized Karambit in the heat of hand-to-hand combat, the cutting edge was almost always smeared with some type of deadly poison which acted almost instantly upon entry into the bloodstream via laceration of the flesh.
Even the smallest cut was good enough to get the poison into the bloodstream. Knowledge and usage of poisons derived from various species of poisonous frogs, snakes, scorpions and spiders were considered an essential element of a warrior’s arsenal of close quarter combative skills. These poisons rapidly accelerated death and were most feared for their nearly instantaneous killing power. This is another reason why Pencak Silat techniques and systems such as Sabetan and Rhikasan focus on the immobilization of the hands at close quarters.
The Karambit, is therefore a utility tool and can also be used as an implement of personal protection and represents, skill, maturity, honor and wisdom. Those who are well versed in its usage as a measure of self defense, have a greater advantage over those who do not. An ancient code of ethics reminds the warrior that his weapon should not be unsheathed without good reason nor draw blood without honor.
Myths, Mysteries and Misconceptions About the Filipino Martial Arts
By Jay de Leon
Originally Published in WorldBlackBelt Magazine, 2004
To test your knowledge of Filipino Martial Arts (FMA), answer true or false to these widely-circulated myths and misinformation about FMA. If you have been reading the articles in this column assiduously, or you have actually been listening to the ranting, musings and reminisces of your “guro,” (teacher), then this test should be a breeze for you.
Here then are the common myths, mysteries and misconceptions about FMA.
The terms arnis, kali and escrima have different meanings depending on their geographical origin and types of weapons.
FALSE. All three terms refer to the same art, and there is no correlation between these term and the system’s geographical origin, the founder’s tribal affiliation, or types of weapons used. The use of one term over the other does not make it any better, older, more blade-oriented, more authentic, more complete, more Asian or more lethal than the other. If, for example, your FMA system is called “Pilantik,” you may call it “Pilantik Arnis,” “Pilantik Kali,” or “Pilantik Eskrima.” Even if your grandmaster in the Philippines calls it “Pilantik Arnis,” you may change it to “Pilantik Kali” here in the States if you wish, assuming of course your grandmaster’s virtues include leeway for your pigheadedness.
The terms arnis, kali and escrima are not the only terms or names you may give to a FMA.
TRUE. These are the three terms generally used for an FMA. But the individual Filipino Martial Arts historically have used many other names, mostly regional or ethnic names, like “estocada,” “kabaroan,” etc. Don’t sweat the ethnic names. At this point in time, most major FMA’s have converted to the traditional arnis, kali or eskrima terminology. Again, using an ethnic term over another will not supersize your system. By the way, “escrima” and “eskrima” are the same. Again, one is not older or more authentic than the other. If you want a technical explanation, there is no C” in the Filipino alphabet, only a “K.” So you can argue that “escrima” is the Spanish derivative, and “eskrima” the Filipino derivative, and please don’t debate which one is older.
FMA is a weapons-based system, and is strictly stickfighting.
FALSE. Okay, this is the give-away question. Depending on the particular FMA system, and at what level you are in your training, most FMA systems teach the use of many kinds of weapons, including impact, bladed, flexible and projectile weapons, both traditional and modern. So why the misconception? One, almost all FMA systems start your training with the sticks, either single or double, since the stick is considered the primary tool of training. Second, most tournaments and many demonstrations showcase skills with the sticks, and this is what the public sees.
FMA training usually starts outwith the single stick…
but may eventually include other weaponssuch as
espada y daga
(sword and knife)…
…or a bolo…
…or a Bowie knife.
In the ‘50’s and early ‘60’s, judo was the premiere sport in the Philippines…
…followed by karate…
…then kung-fu…
…and Muay Thai kickboxing.
FMA is a weapons-based system, but also has empty hands techniques.
TRUE. Again, depending on the particular FMA, most FMA systems have excellent empty hands techniques, ranging from a separate sub-system (like “dumog” or wrestling) to fully integrated in the weapons system. As part of their training and conditioning, “Yaw-yan” senior practitioners, for example, fight full-contact kickboxing bouts in the ring. Many FMA grandmasters are also high-ranking practitioners of karate, judo, jiu-jitsu, aikido, boxing or “dumog” and seamlessly incorporate these techniques in their FMA, whether in weapons or empty hands applications. And finally, weapons are extensions of the body, and advanced practitioners of FMA use this concept to “translate” weapon techniques into empty hands techniques.
FMA is the most popular martial arts in the Philippines.
FALSE.; If we believe all the historical lore, FMA is probably the oldest martial arts in the Philippines. Sadly, it was never, and still is not, the most popular martial arts in the Philippines. The Filipinos have been accused of having a "colonial” mentality, meaning, things imported from foreign countries are to be desired, and things indigenous are to be avoided. This also applies to martial arts. In the 1950’s, the premier martial art was judo. I remember being in awe of the Japanese Kodokan instructors teaching in Manila. This was followed by karate (mostly “shorin-ryu” as introduced by Grandmaster Latino Gonzales, and later “tae-kwon-do,”) then “kung-fu” during the Bruce Lee craze, Muay Thai kickboxing, and even “aikido” because of the Steven Seagal movies. During my time and through today, practicing FMA in the Philippines was considered “bakya,” meaning pedestrian or proletariat, and therefore uncool. Many “cool” Filipinos today are trying to change this, though.
FMA systems have a standardized ranking, terminology and curriculum, determined by the founding grandmasters in the Philippines.
FALSE. Not by a long shot. Sometimes, there is not even standardized ranking, terminology and curriculum within the same system itself. The reasons for this include lack of historical or technical documentation, linguistic (or dialect) differences, interfamily squabbles, and plain ego. Most of the time, the founder and eventually his inheritors determine their own rules of the game. My friend Marc Denny’s (Crafty Dog of the Dog Brothers) canine hackles come up every time the issue of terminology rears its ugly head, exclaiming “How do you expect us gringos to learn proper terminology, when you Filipinos cannot even agree among yourselves?” To which I always reply, “How did you think all these ferocious fighting systems came about in the first place?” As a final word on this issue, do not worry too much about the belt ranking, terminology and lineage of your style, as being really good and effective with your art.
The Philippines must be such a dangerous and lawless place, and the Filipinos such dangerous people, to produce such a violent martial arts founded by violent grandmasters.
FALSE, only because of the way the statement is phrased. In an earlier piece, I wrote that the Philippines has dangerous places, and even more dangerous men. From my point of view, the Philippines itself is no more dangerous or safer than any other country in the world. There are some extremely dangerous areas in certain provinces of Mindanao, in some mountainous regions of Luzon close to Pampanga and Nueva Ecija, and even in the urban jungles of Manila. And these dangerous places produce dangerous men. However, the Philippines is still a land of laws. True, the wheels of justice over there grind exceedingly slow, sometimes to a stop, and the scales of justice are often tipped in favor of the rich and powerful, but, on the whole, if you commit a crime, you will be punished. The so-called violent founders were the products of their times, environment, and personal situations. True, a couple of them were arrested for violent crimes. I do not need to point out that there have been many parallel cases in other martial arts.
What is there not to like about the Philippines? It has paradise…
…flora…
…fauna--lechon at inihaw na bangus (roasted pig and milkfish)…
..and some fine local beverages.
All that metaphysical stuff about “anting-anting” (amulets) and “orasyones” (prayers) have to be bunk.
TRUE, BUT…I had a friend in the Philippines who used to say, “Let me see how his “anting-anting” stands up to my .45 (Colt 1911).” First of all, not all “anting-anting” and “orasyones” were meant to make the wearer invincible. Some had specific purposes, like to confuse the enemy, to make the wearer safe from sickness, from death by a blade, etc. Remember that these inanimate objects by themselves have no power, but derive their efficacy from the giver, from faith, from rituals that empower. If you have lived in the Philippines especially in the provinces as I have, it is hard to totally discount the praeternatural, the paranormal, or the spiritual forces the rural folk believe in. It is hard to explain, and I am as skeptical as the next person, but I have had enough personal experiences with this issue to keep an open mind. Besides, this is the mystery question. As a final point, most people forget that there is an opposite side to these “dark” metaphysical arts called “hilot” or the healing arts. It is no mumbo-jumbo laying of the hands, but a true chiropractic-like art that really works and has benefited many, and only a few masters know. Examples of “hilot” masters include Grandmaster Sam Tendencia and “Gat Puno” Abon Baet.
Would you trust these children with FMA weapons?
I did. My sons Michael (left) and Mitchell have been
doing FMA since they could walk. They are nowteenagers with extensive martial arts experience.
Since it involves the use of weapons, FMA must not be taught to children.
FALSE. I concede that swinging a stick is probably a little bit more dangerous that throwing a roundhouse kick, but for that original statement to make sense, it should say something like, FMA as taught to adults, must not be taught to children. In other words, the FMA that will be taught to children will be at an age-appropriate level, with the usual caveat about the use of force in a physical confrontation, just like in a traditional martial arts school. There are so many FMA drills that can be taught to children without the violent implication, such as stick-pattern drills (“sinawali” drills), footwork and zoning drills, basic releases and disarms, and breakfalls and groundwork (yes, preparation for “dumog” and “stickgrappling”). Then as their maturity and martial arts skills grow, they can be eased into the weapons course. I started teaching FMA to my boys, Michael and Mitchell, as soon as they could walk, and I did such a good job that I lost them to wrestling in high school.
Only a person of Filipino descent can found a FMA system.
FALSE. On one extreme, anybody can start any martial arts system or style. For the sake of discussion, let’s say we are talking about a legitimate, hardcore FMA with the proper curriculum and system lineage. Can a non-Filipino be the founder of his own FMA system? Definitely. In fact, this phenomenon has already started in the U.S. and Canada My friend from the Philippines named Bot Jocano, a university professor who is also a high-ranking “Lightning Scientific Arnis” instructor, calls this phenomenon the indigenization of a martial arts. Here in the U.S., you have seen it happen with tae-kwon do, kung-fu, Brazilian jiu-jitsu and others. When a couple of such founders asked my opinion about founding their own FMA systems, my answer was, “As long as your FMA rocks, and your heart is in the right place, go for it.”
Badger Jones,
founder of Siling Labuyo Arnis.
Does his FMA measure up?
I hope you found this little test informative and entertaining. I encourage feedback and suggestions. Now that I have set you on the straight and narrow, try not to take these issues (or non-issues) too seriously, spend less time debating and flaming on the chat rooms and internet, and instead, get up, go out, and swing those sticks.
Copyright, Jay de Leon, 2004
Originally Published in WorldBlackBelt Magazine, 2004
To test your knowledge of Filipino Martial Arts (FMA), answer true or false to these widely-circulated myths and misinformation about FMA. If you have been reading the articles in this column assiduously, or you have actually been listening to the ranting, musings and reminisces of your “guro,” (teacher), then this test should be a breeze for you.
Here then are the common myths, mysteries and misconceptions about FMA.
The terms arnis, kali and escrima have different meanings depending on their geographical origin and types of weapons.
FALSE. All three terms refer to the same art, and there is no correlation between these term and the system’s geographical origin, the founder’s tribal affiliation, or types of weapons used. The use of one term over the other does not make it any better, older, more blade-oriented, more authentic, more complete, more Asian or more lethal than the other. If, for example, your FMA system is called “Pilantik,” you may call it “Pilantik Arnis,” “Pilantik Kali,” or “Pilantik Eskrima.” Even if your grandmaster in the Philippines calls it “Pilantik Arnis,” you may change it to “Pilantik Kali” here in the States if you wish, assuming of course your grandmaster’s virtues include leeway for your pigheadedness.
The terms arnis, kali and escrima are not the only terms or names you may give to a FMA.
TRUE. These are the three terms generally used for an FMA. But the individual Filipino Martial Arts historically have used many other names, mostly regional or ethnic names, like “estocada,” “kabaroan,” etc. Don’t sweat the ethnic names. At this point in time, most major FMA’s have converted to the traditional arnis, kali or eskrima terminology. Again, using an ethnic term over another will not supersize your system. By the way, “escrima” and “eskrima” are the same. Again, one is not older or more authentic than the other. If you want a technical explanation, there is no C” in the Filipino alphabet, only a “K.” So you can argue that “escrima” is the Spanish derivative, and “eskrima” the Filipino derivative, and please don’t debate which one is older.
FMA is a weapons-based system, and is strictly stickfighting.
FALSE. Okay, this is the give-away question. Depending on the particular FMA system, and at what level you are in your training, most FMA systems teach the use of many kinds of weapons, including impact, bladed, flexible and projectile weapons, both traditional and modern. So why the misconception? One, almost all FMA systems start your training with the sticks, either single or double, since the stick is considered the primary tool of training. Second, most tournaments and many demonstrations showcase skills with the sticks, and this is what the public sees.
FMA training usually starts outwith the single stick…
but may eventually include other weaponssuch as
espada y daga
(sword and knife)…
…or a bolo…
…or a Bowie knife.
In the ‘50’s and early ‘60’s, judo was the premiere sport in the Philippines…
…followed by karate…
…then kung-fu…
…and Muay Thai kickboxing.
FMA is a weapons-based system, but also has empty hands techniques.
TRUE. Again, depending on the particular FMA, most FMA systems have excellent empty hands techniques, ranging from a separate sub-system (like “dumog” or wrestling) to fully integrated in the weapons system. As part of their training and conditioning, “Yaw-yan” senior practitioners, for example, fight full-contact kickboxing bouts in the ring. Many FMA grandmasters are also high-ranking practitioners of karate, judo, jiu-jitsu, aikido, boxing or “dumog” and seamlessly incorporate these techniques in their FMA, whether in weapons or empty hands applications. And finally, weapons are extensions of the body, and advanced practitioners of FMA use this concept to “translate” weapon techniques into empty hands techniques.
FMA is the most popular martial arts in the Philippines.
FALSE.; If we believe all the historical lore, FMA is probably the oldest martial arts in the Philippines. Sadly, it was never, and still is not, the most popular martial arts in the Philippines. The Filipinos have been accused of having a "colonial” mentality, meaning, things imported from foreign countries are to be desired, and things indigenous are to be avoided. This also applies to martial arts. In the 1950’s, the premier martial art was judo. I remember being in awe of the Japanese Kodokan instructors teaching in Manila. This was followed by karate (mostly “shorin-ryu” as introduced by Grandmaster Latino Gonzales, and later “tae-kwon-do,”) then “kung-fu” during the Bruce Lee craze, Muay Thai kickboxing, and even “aikido” because of the Steven Seagal movies. During my time and through today, practicing FMA in the Philippines was considered “bakya,” meaning pedestrian or proletariat, and therefore uncool. Many “cool” Filipinos today are trying to change this, though.
FMA systems have a standardized ranking, terminology and curriculum, determined by the founding grandmasters in the Philippines.
FALSE. Not by a long shot. Sometimes, there is not even standardized ranking, terminology and curriculum within the same system itself. The reasons for this include lack of historical or technical documentation, linguistic (or dialect) differences, interfamily squabbles, and plain ego. Most of the time, the founder and eventually his inheritors determine their own rules of the game. My friend Marc Denny’s (Crafty Dog of the Dog Brothers) canine hackles come up every time the issue of terminology rears its ugly head, exclaiming “How do you expect us gringos to learn proper terminology, when you Filipinos cannot even agree among yourselves?” To which I always reply, “How did you think all these ferocious fighting systems came about in the first place?” As a final word on this issue, do not worry too much about the belt ranking, terminology and lineage of your style, as being really good and effective with your art.
The Philippines must be such a dangerous and lawless place, and the Filipinos such dangerous people, to produce such a violent martial arts founded by violent grandmasters.
FALSE, only because of the way the statement is phrased. In an earlier piece, I wrote that the Philippines has dangerous places, and even more dangerous men. From my point of view, the Philippines itself is no more dangerous or safer than any other country in the world. There are some extremely dangerous areas in certain provinces of Mindanao, in some mountainous regions of Luzon close to Pampanga and Nueva Ecija, and even in the urban jungles of Manila. And these dangerous places produce dangerous men. However, the Philippines is still a land of laws. True, the wheels of justice over there grind exceedingly slow, sometimes to a stop, and the scales of justice are often tipped in favor of the rich and powerful, but, on the whole, if you commit a crime, you will be punished. The so-called violent founders were the products of their times, environment, and personal situations. True, a couple of them were arrested for violent crimes. I do not need to point out that there have been many parallel cases in other martial arts.
What is there not to like about the Philippines? It has paradise…
…flora…
…fauna--lechon at inihaw na bangus (roasted pig and milkfish)…
..and some fine local beverages.
All that metaphysical stuff about “anting-anting” (amulets) and “orasyones” (prayers) have to be bunk.
TRUE, BUT…I had a friend in the Philippines who used to say, “Let me see how his “anting-anting” stands up to my .45 (Colt 1911).” First of all, not all “anting-anting” and “orasyones” were meant to make the wearer invincible. Some had specific purposes, like to confuse the enemy, to make the wearer safe from sickness, from death by a blade, etc. Remember that these inanimate objects by themselves have no power, but derive their efficacy from the giver, from faith, from rituals that empower. If you have lived in the Philippines especially in the provinces as I have, it is hard to totally discount the praeternatural, the paranormal, or the spiritual forces the rural folk believe in. It is hard to explain, and I am as skeptical as the next person, but I have had enough personal experiences with this issue to keep an open mind. Besides, this is the mystery question. As a final point, most people forget that there is an opposite side to these “dark” metaphysical arts called “hilot” or the healing arts. It is no mumbo-jumbo laying of the hands, but a true chiropractic-like art that really works and has benefited many, and only a few masters know. Examples of “hilot” masters include Grandmaster Sam Tendencia and “Gat Puno” Abon Baet.
Would you trust these children with FMA weapons?
I did. My sons Michael (left) and Mitchell have been
doing FMA since they could walk. They are nowteenagers with extensive martial arts experience.
Since it involves the use of weapons, FMA must not be taught to children.
FALSE. I concede that swinging a stick is probably a little bit more dangerous that throwing a roundhouse kick, but for that original statement to make sense, it should say something like, FMA as taught to adults, must not be taught to children. In other words, the FMA that will be taught to children will be at an age-appropriate level, with the usual caveat about the use of force in a physical confrontation, just like in a traditional martial arts school. There are so many FMA drills that can be taught to children without the violent implication, such as stick-pattern drills (“sinawali” drills), footwork and zoning drills, basic releases and disarms, and breakfalls and groundwork (yes, preparation for “dumog” and “stickgrappling”). Then as their maturity and martial arts skills grow, they can be eased into the weapons course. I started teaching FMA to my boys, Michael and Mitchell, as soon as they could walk, and I did such a good job that I lost them to wrestling in high school.
Only a person of Filipino descent can found a FMA system.
FALSE. On one extreme, anybody can start any martial arts system or style. For the sake of discussion, let’s say we are talking about a legitimate, hardcore FMA with the proper curriculum and system lineage. Can a non-Filipino be the founder of his own FMA system? Definitely. In fact, this phenomenon has already started in the U.S. and Canada My friend from the Philippines named Bot Jocano, a university professor who is also a high-ranking “Lightning Scientific Arnis” instructor, calls this phenomenon the indigenization of a martial arts. Here in the U.S., you have seen it happen with tae-kwon do, kung-fu, Brazilian jiu-jitsu and others. When a couple of such founders asked my opinion about founding their own FMA systems, my answer was, “As long as your FMA rocks, and your heart is in the right place, go for it.”
Badger Jones,
founder of Siling Labuyo Arnis.
Does his FMA measure up?
I hope you found this little test informative and entertaining. I encourage feedback and suggestions. Now that I have set you on the straight and narrow, try not to take these issues (or non-issues) too seriously, spend less time debating and flaming on the chat rooms and internet, and instead, get up, go out, and swing those sticks.
Copyright, Jay de Leon, 2004
Saturday, November 27, 2010
The Iranon Kuntao
Travel to uncertainty - PTK
Ron Kosakowski-head instructor of Practical Self-Defense Training Center at 847 Hamilton Ave. Waterbury ,Connecticut 06706, school Address had made a strong effort to be in the Philippines to joint the Blademaster Camp along with the leadership of Mandala Tim WAid and members of the PTGO from other starts including the delegation from Argentina-Buenos Aires, Latin America. for ten days of tedious training at Puerto Galera, Island of Mindoro the fun and the thrill of training along the green beaches of Puerto Galera was so tempting that for a days training , every one is looking for the next day of more training. The sea water that soaks into a chilled bodies who were used to absorb icy cold weather turned to red color like a cooked shrimp. While the day was hot , the evening was lively hearing the dancing music that goes with the dancing lights along the long line of restaurants and drinking night clubs.But the end was not the last thing to do for Ron. His desire to seek the authencity of his Kuntao was keep firing into his nerves that since his teacher in Kuntao Master Joe Rossi was not able to identify his teacher of kuntao while he was in his military mission in the Philippines, Ron's was not satisfied what he learn but wants to know the real contents of Rossi's Kuntao. He found an opportunity to be in the Philipines to check his Kuntao. So I arrange that he can meet the original kuntaos in the Island of Mindanao, particularly in the Province of Maguindanao. This is the Province where the MILF_MNLF, Bansang Moro and the Abu Sayaf operates as their heaven for training and take off point for special missions. At the center of the Province is the sitio called Pekit-maybe related to Pekiti. This is a community of combine Muslim and Ilongo Christian co-exist but in between was a demarcation line where the muslim cannot cross and for the Christian not to cross. On top of the valley was the Military and other portion is the Police Special Action Force Commando Fortress surrounded with cemented wall and a observatory tower. Down below we can use telecopes to view the Muslim renegades cleaning their barong and M-16. From Davao city where we landed a two hour flight from Metro Manila together with Rommel, Denis, Ron and myself, at the airport the Air Marshalls stationed in DAvao airport ,our first graduate of the 54 strong air marshall that graduated in the Covert Escort Security Service for National Air Carrrier ( CESSNA)FINAL qualification training conducted at Camp Castaneda, Silang Cavite from November 14 to December 2005.extended a special courtesy with providing us a WElcome reception , a good taste of Davao food.In the afternoon at 3:00PM the special action force commandos arrived , joined us for a coffee break . We exchange pleasantries and we moved to ride on a big Toyata truck with police sign . eight SAC team fully armed to the teeth with m-203 grenade rockets plus four of us depart Davao Province bound for Cotabato ( Maguindanao). As the sun bound to sunset , the darkeness was teachery because according to the Major of the SAC , told us just in case of assault and firing starts just duck . We are expecting ambushes along this highway about 120 kilometers to the point of destiny. Along the highway were several military check points and once in awhile the MILF or MNLF ( Bansang Moro) put up their own check points on a very remote parts of the highway and that is where the rock and roll starts. So the Major said , in case of ambush just take cover and lay flat on the floor of the truck while we take care of the rest. One of our guys said , if I know this I won't come with you guys. So I asked the Major, do you have extra rifles and he said I have a 9mm Jericho pistol but during the exchange of fire , if one of the guys is hit just pick up the M-16 and use it and keep firing. Ron sitting in front seat together with Dennis and the Driver , while me and Rommel joined the SAC team on the top of the truck.Luckily we arrived at Pekit fortress at about 1:00pm after midnight . We rested on a improvished housing by the Police, of course the normal military beds and mosquito nets. We were together in one place while the other team member were scathered outside as guards. The morning came and we had a good view of the wide tract of land. The Major explained to us that any piece of land that you see without rice plantation or the land is empty that is muslim property. But a piece of small land with rice and some trees that is owned by the Christians. So we asked why, because the tribes here just wants to fight but not to work for their lands. But once the christian is about to harvest his rice field they will ask a part because they said it is their land owned by their forefathers.
Comes in the afternoon, the Major had arranged ahead of time that the highest man of Kuntao can come to the Police camp and can show the Kuntao . According to the messenger this old man a grandmaster of kuntao Iranon can crash a stone with hands, an 80 year old man. Before sunset two messengers came to the camp on a friendly manner talked to the major and other SAC officers and I spoke to the messenger for the arrangement of the coming to the camp , short ceremony about kuntao and possibly for Ron to be recognized. But when the messenger saw Ron, they changed their mind instead that they are willing to have the ceremony at the village where the Muslim community and the muslim family can hold the presentation. So we didn't accept because Ron's head will be very costly maybe a good price on his head. So at 2:00 AM early in the morning we moved out with additional team members of the SAC bound for Malaybalay Bukidnon. Leaving Maguindanao was removing a fish bone in ones throat. So we travelled until we reached the town of Valencia where we had our break fast and met the relatives of the Major, we were given a tour of the land owned by one of the ancestral DAtu of another friendly tribe of Bukidnon who owned 70,000 hectares of land in his own family title. he showed us his mountains , valleys and plateaus . An excellent place to live in peace.
We continued to travel the whole day until we reached Cagayan De Oro where we can take our flgiht to Manila via Philippine Airlines. At the airport every woman with a face covered with Muslim traditions were staring at Ron since I think they saw a white man inside the Muslim airport. But the flight was comfortable and we had a good time landed in domestic airport in good laughing style.
But the end of Ron was not in Mindanao , I have a hidden from him that in Metro manila the Muslim had a big Muslim community compose of all tribes of Mindanao that lived in Metro manila ,owned buildings and big muslim products sold in Plaza Miranda and Quiapo area, a public market where goods are cheap but mostly Muslim goods. My friend is the real man of Kuntao . For many years we associated each other and I saw how was his Kuntao in real encounter in the street of Manila. But I didn't this that he was a Kuntao man until we were together in Singapore in the late 60's where we did business arrangement . So while Ron was in the hotel I told him to get ready to meet the real Kuntaiost, the council of the Minsupala Tribes. The Minsupala Tribe heads the Kuntao Maranaw, Kuntao Taosog, Kuntao Iranon. So he got his acceptance in special ceremony and with the promise to return so he can be at Bungao Island for his initiation and to see the real kuntao and advanced his training for the real authentic kuntao. We need a man like Ron who cross the bridge and don't look back . Since Ron is in Pekiti-Tirsia , we support his effort to identify the real authentic Kuntao not a fake Kuntao. K to the 2nd power.
Source; http://pekiti-tirsia.typepad.com/pekititirsia_kali/2006/05/travel_to_uncer.html
Ron Kosakowski-head instructor of Practical Self-Defense Training Center at 847 Hamilton Ave. Waterbury ,Connecticut 06706, school Address had made a strong effort to be in the Philippines to joint the Blademaster Camp along with the leadership of Mandala Tim WAid and members of the PTGO from other starts including the delegation from Argentina-Buenos Aires, Latin America. for ten days of tedious training at Puerto Galera, Island of Mindoro the fun and the thrill of training along the green beaches of Puerto Galera was so tempting that for a days training , every one is looking for the next day of more training. The sea water that soaks into a chilled bodies who were used to absorb icy cold weather turned to red color like a cooked shrimp. While the day was hot , the evening was lively hearing the dancing music that goes with the dancing lights along the long line of restaurants and drinking night clubs.But the end was not the last thing to do for Ron. His desire to seek the authencity of his Kuntao was keep firing into his nerves that since his teacher in Kuntao Master Joe Rossi was not able to identify his teacher of kuntao while he was in his military mission in the Philippines, Ron's was not satisfied what he learn but wants to know the real contents of Rossi's Kuntao. He found an opportunity to be in the Philipines to check his Kuntao. So I arrange that he can meet the original kuntaos in the Island of Mindanao, particularly in the Province of Maguindanao. This is the Province where the MILF_MNLF, Bansang Moro and the Abu Sayaf operates as their heaven for training and take off point for special missions. At the center of the Province is the sitio called Pekit-maybe related to Pekiti. This is a community of combine Muslim and Ilongo Christian co-exist but in between was a demarcation line where the muslim cannot cross and for the Christian not to cross. On top of the valley was the Military and other portion is the Police Special Action Force Commando Fortress surrounded with cemented wall and a observatory tower. Down below we can use telecopes to view the Muslim renegades cleaning their barong and M-16. From Davao city where we landed a two hour flight from Metro Manila together with Rommel, Denis, Ron and myself, at the airport the Air Marshalls stationed in DAvao airport ,our first graduate of the 54 strong air marshall that graduated in the Covert Escort Security Service for National Air Carrrier ( CESSNA)FINAL qualification training conducted at Camp Castaneda, Silang Cavite from November 14 to December 2005.extended a special courtesy with providing us a WElcome reception , a good taste of Davao food.In the afternoon at 3:00PM the special action force commandos arrived , joined us for a coffee break . We exchange pleasantries and we moved to ride on a big Toyata truck with police sign . eight SAC team fully armed to the teeth with m-203 grenade rockets plus four of us depart Davao Province bound for Cotabato ( Maguindanao). As the sun bound to sunset , the darkeness was teachery because according to the Major of the SAC , told us just in case of assault and firing starts just duck . We are expecting ambushes along this highway about 120 kilometers to the point of destiny. Along the highway were several military check points and once in awhile the MILF or MNLF ( Bansang Moro) put up their own check points on a very remote parts of the highway and that is where the rock and roll starts. So the Major said , in case of ambush just take cover and lay flat on the floor of the truck while we take care of the rest. One of our guys said , if I know this I won't come with you guys. So I asked the Major, do you have extra rifles and he said I have a 9mm Jericho pistol but during the exchange of fire , if one of the guys is hit just pick up the M-16 and use it and keep firing. Ron sitting in front seat together with Dennis and the Driver , while me and Rommel joined the SAC team on the top of the truck.Luckily we arrived at Pekit fortress at about 1:00pm after midnight . We rested on a improvished housing by the Police, of course the normal military beds and mosquito nets. We were together in one place while the other team member were scathered outside as guards. The morning came and we had a good view of the wide tract of land. The Major explained to us that any piece of land that you see without rice plantation or the land is empty that is muslim property. But a piece of small land with rice and some trees that is owned by the Christians. So we asked why, because the tribes here just wants to fight but not to work for their lands. But once the christian is about to harvest his rice field they will ask a part because they said it is their land owned by their forefathers.
Comes in the afternoon, the Major had arranged ahead of time that the highest man of Kuntao can come to the Police camp and can show the Kuntao . According to the messenger this old man a grandmaster of kuntao Iranon can crash a stone with hands, an 80 year old man. Before sunset two messengers came to the camp on a friendly manner talked to the major and other SAC officers and I spoke to the messenger for the arrangement of the coming to the camp , short ceremony about kuntao and possibly for Ron to be recognized. But when the messenger saw Ron, they changed their mind instead that they are willing to have the ceremony at the village where the Muslim community and the muslim family can hold the presentation. So we didn't accept because Ron's head will be very costly maybe a good price on his head. So at 2:00 AM early in the morning we moved out with additional team members of the SAC bound for Malaybalay Bukidnon. Leaving Maguindanao was removing a fish bone in ones throat. So we travelled until we reached the town of Valencia where we had our break fast and met the relatives of the Major, we were given a tour of the land owned by one of the ancestral DAtu of another friendly tribe of Bukidnon who owned 70,000 hectares of land in his own family title. he showed us his mountains , valleys and plateaus . An excellent place to live in peace.
We continued to travel the whole day until we reached Cagayan De Oro where we can take our flgiht to Manila via Philippine Airlines. At the airport every woman with a face covered with Muslim traditions were staring at Ron since I think they saw a white man inside the Muslim airport. But the flight was comfortable and we had a good time landed in domestic airport in good laughing style.
But the end of Ron was not in Mindanao , I have a hidden from him that in Metro manila the Muslim had a big Muslim community compose of all tribes of Mindanao that lived in Metro manila ,owned buildings and big muslim products sold in Plaza Miranda and Quiapo area, a public market where goods are cheap but mostly Muslim goods. My friend is the real man of Kuntao . For many years we associated each other and I saw how was his Kuntao in real encounter in the street of Manila. But I didn't this that he was a Kuntao man until we were together in Singapore in the late 60's where we did business arrangement . So while Ron was in the hotel I told him to get ready to meet the real Kuntaiost, the council of the Minsupala Tribes. The Minsupala Tribe heads the Kuntao Maranaw, Kuntao Taosog, Kuntao Iranon. So he got his acceptance in special ceremony and with the promise to return so he can be at Bungao Island for his initiation and to see the real kuntao and advanced his training for the real authentic kuntao. We need a man like Ron who cross the bridge and don't look back . Since Ron is in Pekiti-Tirsia , we support his effort to identify the real authentic Kuntao not a fake Kuntao. K to the 2nd power.
Source; http://pekiti-tirsia.typepad.com/pekititirsia_kali/2006/05/travel_to_uncer.html
Down but Definitely NOT OUT!
By Pendekar Paul Bennett
Much has been written in martial arts publications about the need to be combat competent across the ranges. More recently a greater emphasis has been placed around our ability to survive once the fight has gone to the floor. This has been polarized by the popularity of ‘no holds barred’ and associated competitions that seem to confirm the striker’s worst nightmare.
But what of those art’s that fairly encourage the ground fight? One such art is Indonesia’s Harimau (tiger) system of pencak silat. Born of the Minangkabau from west central Sumatra and practiced in the U.K as part of the Palero system, its technical fundamentals can be found to a greater or lesser degree, in every other major orthodox pencak silat style. Important reasons for differences arise from the fact that uneven and slippery ground surfaces are common in Sumatra. Under these conditions, the Harimau fighter considers an upright combative posture detrimental to effective fighting since it offers him only two bases of support. He prefers to hug the ground, sometimes actually getting down on it, thus making effective use of five supports – his two legs, his two arms his back side or belly.
To assume that down is out, could be a grave error, as from the low posture the fighter can deliver sickening blows cutting his enemy down in their tracks. Mobility weather on or just above the ground is key, as without it, dropping away from any incoming blows into a potentially prone position can only delay the inevitable. To counter this the Harimau fighter undergoes a number of arduous training drills, via Kuda Kuda (stance/posture), Langkah (footwork), Tankiss (deflection) and Pukul (striking), to develop the strength of body and will, to be at home on this unfamiliar territory.
The head of the system for the U.K is Guru Besar Richard Crabbe de-Bordes, whose crusade to test his art, has positioned him at the forefront of conflict management. Those who have benefited from his experience include the Special Forces and Elite Police groups and SWAT and Navy Tactical to name few. It may also be worth mentioning that he has just finished a contract as a presidential aid. This of course is reflected in his teachings, and in turn the teachings of his instructors, giving a firm 21st century edge to the arts combative element, yet still maintaining the deep spiritual and ethical values of this centuries old art.
SO BE AWARE next time someone disappears towards the floor under a hail of blows, you might just be joining them!
This article was published in Fighters magazine, 2003.
Much has been written in martial arts publications about the need to be combat competent across the ranges. More recently a greater emphasis has been placed around our ability to survive once the fight has gone to the floor. This has been polarized by the popularity of ‘no holds barred’ and associated competitions that seem to confirm the striker’s worst nightmare.
But what of those art’s that fairly encourage the ground fight? One such art is Indonesia’s Harimau (tiger) system of pencak silat. Born of the Minangkabau from west central Sumatra and practiced in the U.K as part of the Palero system, its technical fundamentals can be found to a greater or lesser degree, in every other major orthodox pencak silat style. Important reasons for differences arise from the fact that uneven and slippery ground surfaces are common in Sumatra. Under these conditions, the Harimau fighter considers an upright combative posture detrimental to effective fighting since it offers him only two bases of support. He prefers to hug the ground, sometimes actually getting down on it, thus making effective use of five supports – his two legs, his two arms his back side or belly.
To assume that down is out, could be a grave error, as from the low posture the fighter can deliver sickening blows cutting his enemy down in their tracks. Mobility weather on or just above the ground is key, as without it, dropping away from any incoming blows into a potentially prone position can only delay the inevitable. To counter this the Harimau fighter undergoes a number of arduous training drills, via Kuda Kuda (stance/posture), Langkah (footwork), Tankiss (deflection) and Pukul (striking), to develop the strength of body and will, to be at home on this unfamiliar territory.
The head of the system for the U.K is Guru Besar Richard Crabbe de-Bordes, whose crusade to test his art, has positioned him at the forefront of conflict management. Those who have benefited from his experience include the Special Forces and Elite Police groups and SWAT and Navy Tactical to name few. It may also be worth mentioning that he has just finished a contract as a presidential aid. This of course is reflected in his teachings, and in turn the teachings of his instructors, giving a firm 21st century edge to the arts combative element, yet still maintaining the deep spiritual and ethical values of this centuries old art.
SO BE AWARE next time someone disappears towards the floor under a hail of blows, you might just be joining them!
This article was published in Fighters magazine, 2003.
The Lightning Fast, Bone Crushing Malay Art of War
By Guru Jak Othman
Silat is often misunderstood as the Indonesian Martial Art. May be this is because most styles of Silat that reached the foreign shores are from Indonesia. We have the old styles like Harimau Minangkabau from Sumatra, Cimande from Java. American base Silat body or styles like Serak from the De Thouars family and Mande Muda by the late Guru Herman Suwanda who had taken elements from more then 20 Indonesian Silat styles into his system. We have Maphilindo Silat by Guru Dan Inosanto combining Madjapahit, Indonesia and Philippines Silat styles into his system. The styles mentioned above are among the famous ones outside the countries of origin for Silat.
Looking at the countries of origin for Silat in South East Asia, Indonesia has more than 400 styles of Silat registered with the National Silat Federation (Ikatan Pencak Silat Indonesia) ,more than 250 styles likewise in Malaysia (Persekutuan Silat Kebangsaan Malaysia), 20 styles in Brunei (Persekutuan Silat Brunei) and 25 styles in Singapore (Persekutuan Silat Singapura). There are also Silat governing body in Mindanao, Philippines and Patani, Southern Thailand which can also be categorized as countries of origin. The four National Silat Federation from the countries of origin formed the International Silat Federation (Persekutuan Silat Antarabangsa) or
Persilat for short. Now Silat bodies from more than 25 countries around the world are affiliated to PERSILAT. Silat is not only Indonesian, but also belongs to the Malays in South East Asia. As a matter of fact, Silat is the art of war of the ancient Malay empires. The first Malay empire was Kedah which was situated north on the west coast of the Malay Peninsula (West Malaysia). The downfall of this first great Malay empire saw the rise of the Sri Vijaya in Sumatra . Next was the Madjapahit empire in Java. After Madjapahit was Malacca (Melaka) which was also situated on the west coast of the Malay Peninsula. Madjapahit andMalacca empires were so strong that the ancient nations of Burma , Vietnam ,Cambodia, Philippines and southern Thailand were under them. Being the main centre of trade for the old India and China route has made the ancient Malay empires the melting pots of Asian cultures. We have Indian , Chinese , Persians, Okinawa, Japanese and all South East Asian traders coming to the main cities of our ancient empires to trade their goods. Being popular and rich
also made the Malay empires constant targets to foreign forces attacks . Malacca fought the Portuguese, Dutch and English for more than 150 years. The Indonesian faced the Dutch until the day of independence. The Southern Philippines fought the Spaniards and Americans in some great wars. These foreign forces were well equipped with sophisticated weapons and vehicles of war. Despite of all these advantages, they had their biggest nightmares when they faced the pendekar (Malay warriors). The pendekar fought the invaders using the ancient Malay art of war called SILAT !
Silat is often misunderstood as the Indonesian Martial Art. May be this is because most styles of Silat that reached the foreign shores are from Indonesia. We have the old styles like Harimau Minangkabau from Sumatra, Cimande from Java. American base Silat body or styles like Serak from the De Thouars family and Mande Muda by the late Guru Herman Suwanda who had taken elements from more then 20 Indonesian Silat styles into his system. We have Maphilindo Silat by Guru Dan Inosanto combining Madjapahit, Indonesia and Philippines Silat styles into his system. The styles mentioned above are among the famous ones outside the countries of origin for Silat.
Looking at the countries of origin for Silat in South East Asia, Indonesia has more than 400 styles of Silat registered with the National Silat Federation (Ikatan Pencak Silat Indonesia) ,more than 250 styles likewise in Malaysia (Persekutuan Silat Kebangsaan Malaysia), 20 styles in Brunei (Persekutuan Silat Brunei) and 25 styles in Singapore (Persekutuan Silat Singapura). There are also Silat governing body in Mindanao, Philippines and Patani, Southern Thailand which can also be categorized as countries of origin. The four National Silat Federation from the countries of origin formed the International Silat Federation (Persekutuan Silat Antarabangsa) or
Persilat for short. Now Silat bodies from more than 25 countries around the world are affiliated to PERSILAT. Silat is not only Indonesian, but also belongs to the Malays in South East Asia. As a matter of fact, Silat is the art of war of the ancient Malay empires. The first Malay empire was Kedah which was situated north on the west coast of the Malay Peninsula (West Malaysia). The downfall of this first great Malay empire saw the rise of the Sri Vijaya in Sumatra . Next was the Madjapahit empire in Java. After Madjapahit was Malacca (Melaka) which was also situated on the west coast of the Malay Peninsula. Madjapahit andMalacca empires were so strong that the ancient nations of Burma , Vietnam ,Cambodia, Philippines and southern Thailand were under them. Being the main centre of trade for the old India and China route has made the ancient Malay empires the melting pots of Asian cultures. We have Indian , Chinese , Persians, Okinawa, Japanese and all South East Asian traders coming to the main cities of our ancient empires to trade their goods. Being popular and rich
also made the Malay empires constant targets to foreign forces attacks . Malacca fought the Portuguese, Dutch and English for more than 150 years. The Indonesian faced the Dutch until the day of independence. The Southern Philippines fought the Spaniards and Americans in some great wars. These foreign forces were well equipped with sophisticated weapons and vehicles of war. Despite of all these advantages, they had their biggest nightmares when they faced the pendekar (Malay warriors). The pendekar fought the invaders using the ancient Malay art of war called SILAT !
The Tiger is Loose!
The Tiger is Loose!
By Guru Jak Othman
A figure stands in the shadows, her hands moving gracefully in slow, smooth dance-like gestures as her light footsteps bring her ever closer to you. Her state of subtle grace hides any trace of danger she might pose to you.
In your mind, you see nothing but beauty in her movements. That is until you realize your eyes are hurting and before you can recover you feel sharp pains all over your body.
You start to lose consciousness, before you could understand what actually caused you to be in the position you are now thrust into.
You will not know that the pain in your eyes was caused by the sand that she kicked in your face as she got closer to you, while you were preoccupied with her "performance". You will never realize that the sharp pain you felt all over your body was caused by the multiple stabs and slashes she rained on you with a weapon you did not and will not see. There was no reason for you to defend yourself, though you were well armed, for you foresaw no danger at all.
This is one likely scenario that could've taken place during the occupation of the Melayu Archipelago (which includes the most part of what is now the South East Asian countries) by either the Portuguese, Dutch, English, Spanish, Japanese or American colonizing forces. The woman in the story could've been from any of the countries amongst the South East Asian countries. The soldier who met with misfortune could've been from any of the aforementioned colonizing forces. However, the art with which the woman so cleverly put to use to defeat her bigger enemy would most likely be none other than Silat.
Though relatively an exotic, if not obscure, art amongst the majority of the Western martial-arts community until just about a decade back, Silat has had the good fortune of being highlighted by the growing interest in the weapon arts of the South East Asian countries. However, the rarity of correct information and instructors outside its countries of origin have been the major setback to the wider spread of the art itself. This article has been written with the sincerest intentions to alleviate, if not remedy, this problem.
Silat is the indigenous martial art of the Melayu people who mainly populate the South East Asian countries of Malaysia, Indonesia, Brunei, Singapura and the Philippines. In Malaysia, Singapura and Brunei it is known as Seni Silat. In Indonesia it is widely known as Pencak Silat or Pentjak Silat. However, in the Philippines it is more widely recognized as Kali Silat. By any name it may be called, Silat still is renowned not only for its highly practical and incredibly deadly approach and technique but also for its highly stylized and artistic movements, philosophy and spirituality.
The term "Silat" itself has many interpretations as to its origin. One interpretation states that the term "Silat" comes from the Melayu word "Si Kilat" which means "one who is as fast as lightning". Lightning is taken as an example because it signifies power, speed and elusiveness, not to mention brightness (of the mind). The fact that lightning always takes the least resistive path towards its point of destination makes it all the more compatible as an example for silat's combative approach and philosophy. These ideally are the traits of the pendekar (Silat warrior) in combat. The pendekar's (Melayu silat warrior) prowess, especially in the state of running amuk ("amok" in English) is legendary (not to mention, feared) amongst the many colonizing forces that have dared set foot in the Melayu Archipelago.
However, it has to be noted that the state of amuk should not be interpreted as that of "temporary insanity", where all sense of thought and reasoning is non-existent. It is rather a state whereby the warrior has put aside all notions of self-preservation and is ready to give his life for the cause he is fighting for.
Silat, not unlike the other martial-arts of the East, comes in many different and unique styles. From the tiger-mimicking stances of the Harimau Sumatera-style (no relation to Harimau Berantai), the crowd-pleasing Silat Pulut antics (performed at traditional Melayu weddings and ceremonies), the death-defying acrobatic feats of Silat Seni Gayung to the "no-nonsense"-straight-postured approach of Silat Cekak, the varieties of Silat styles, techniques and weaponry is limited only by the limitations of the human imagination, literally.
However, it is Silat's dance-like movements while in combat, the Bunga Silat, that usually catches the attention of the uninitiated observer. In essence, the Bunga Silat is actually a highly sophisticated and "devious", for lack of a better word, method of deceiving the opponent so as to gain the upper hand in combat. The exact details of how this is achieved is a highly guarded secret in Silat that is revealed to the student only when the Guru (teacher) has fully trusted the student with the responsibility of not misusing this knowledge.
Though aesthetically pleasing, to the untrained eye, the Bunga Silat unfortunately creates the illusion that Silat is a "soft"-style martial art. In actuality, unlike other martial- disciplines, Silat is rarely divided into any categories of "hard" or "soft" (or internal and external) -styles as almost all Silat styles profess to practice both "hard" and "soft" techniques within their respective curriculums.
In Silat, the mind, body and spirit are seen as being in a state of togetherness (which many would not argue otherwise), thus the training is directed towards the cultivation of the "person" as a "whole" and not just towards perfecting his or her fighting ability.
Now, this author will humbly try to introduce one of those many Silat styles, one which for all intents and purposes should and would never claim itself to be the best amongst the rest. One which has at its roots the ultimate goal of martial practitioners the world over, that is the preservation of life in the face of injustice. One which professes the ideals of reason and mercy, yet the firm and swift execution of justice when absolutely necessary. And, one which is realistic and honest enough for the Guru to tell his students, "I can show you hundreds of ways to kill a man, but I cannot even show you one way to bring him back to life!". This is the Silat style known as Harimau Berantai.
Literally, Harimau Berantai Pencak Silat is translated as "the Chained Tiger" Pencak Silat and it has a history that spans generations. Originating from the island of Java, it has a rather unique and interesting birth. It got its title from one of the many pendekars (Silat warriors) of its clan, a pious man named Kiyai Haji Asraf. In its traditions it is said that this style was taught to the founder by a woman in his dreams, the Puteri Mayang Mengurai. Together with the other members of his clan, he would go into battle against the Dutch who were colonizing Java at that period of time. His ferocity in battle so astounded and frightened his enemies that they bestowed upon him the infamous title of "the Tiger".
However, the title was quickly replaced by the Javanese people with "the Chained Tiger", whereby the "chain" signified the degree of self-control and religious faith Kiyai Haji Asraf had in himself owing to his piousness. Ever since then, Kiyai Haji Asraf's whole clan has been called the Harimau Berantai and subsequently, the Silat that they practiced was known by the same title. It has to be noted that until today, a high degree of self-control is still the main prerequisite for all those wishing to study this system of silat, even more so than athletic or fitness abilities (as deficiencies in these areas are more easily rectified).
An interesting quality of Harimau Berantai Pencak Silat is the role in which women have played in it. In the olden days, the women, dubbed Srikandi, actually went to war together with their male counterparts. As a matter of fact, the current Grandmaster of the art is Mak Guru Ramentan Sameon ("Mak Guru" being her title), a lady who is now in her sixties. Not surprisingly, the main weapons of the art such as the pisau belati (knife), kerambit (a small crooked knife popularly known as the "tiger claw") and ekor pari (whip) are essentially light and easily concealed (the whip being wrapped around the waist under the garment or sarong), perfect for use by both women and men.
This brings us to the main subject that this article wishes to address, that of Harimau Berantai Pencak Silat weaponry. We will begin with a general introduction of the major weapons followed by a more in-depth look at the applications, concepts and techniques used for those weapons in combat. As can be grasped from the information so far, this system was originally an art of war, hence the varied weapons employed in combat.
In preparation for battle that could occur at a moment's notice, the Harimau Berantai pendekar had to be able to fight using all manner of weapons that were commonly used in that time period. Weapons such as the keris (traditional Melayu dagger), knife, sword, spear and cane were part of the arsenal of all the pendekars (and not just those from the Harimau Berantai clan). However, there are a few weapons that are focused on in Harimau Berantai Pencak Silat . The first and foremost would be the pisau belati, which is none other than the knife.
The pisau belati (literally, Belati Knife) is an ancient weapon of the Melayu and as such has a glorious history of it's own as far as Silat is concerned. Interestingly enough, the belati (as it is more comonly called) was not a specifically designed weapon of war but was just the everyday common utility knife that was used for everything from cutting vegetables to cutting rope to slaughtering animals and of course, when needed to, protecting one's life. This made it seem the most logical weapon as it was readily available and in the right hands, downright deadly.
This thin bladed weapon was infamous during the Dutch occupation for it's deadly sharpness and "venom" (which will be elaborated on later) especially in the hands of the Srikandi (women warriors) of Java. According to Mak Guru Ramentan (or Mak Intan, as she is affectionately known), the current grandmaster of Harimau Berantai Pencak Silat, the belati was one of the weapons that claimed the most number of Dutch lives when they were forced to fight at close range. With a few simple moves, the belati-fighter would stop the Dutch dead in his tracks, literally.
It is the belati-fighting applications, concepts and techniques that has become the very foundation of Harimau Berantai Pencak Silat's art to this very day. Its influence is so wide-reaching that its applications, concepts and techniques are used even for the empty-hand fighting aspect of the art. Just to touch on that, the empty-hand fighting in Harimau Berantai Pencak Silat is also directly influenced by all the other major weapon's concepts, applications and techniques in its arsenal. So, in order to get properly acquainted with Harimau Berantai Pencak Silat, you would have to befamiliar with the belati as well as the other traditional weapons of the art. As such, the belati-fighting art deserves an in-depth study in its own right.
Firstly, we need to be familiar with the physical characteristics of the belati itself. In general, the length of the belati's blade is between 10 to 20 centimeters depending on the size of its user's hands. The belati, like any single-edged knife, can basically perform two basic techniques, slashing and stabbing (a well-made belati is said to be able to slash all the way to the enemies' bones!).
The Art of Belat Knife
The belati is forged from at least three different metals, so as to insure that the strength of the thin blade is sufficient when it has to endure the extreme rigors of combat. A weak blade might break on contact with the enemy's bone (or article of clothing such as a belt-buckle). According to the Grandmaster, Mak Intan, the belati owned by Puteri Mayang Mengurai (who taught the founder of the art, Haji Asraf) was made from 27 different types of metals.
Back in the olden days, the blacksmith responsible for the forging of the belati would fast for a day before starting the process. The blacksmith whose responsibility it was to forge the belati of Puteri Mayang Mengurai was said to have fasted for 90 days before beginning the task. After having done so, he forged the legendary weapon using nothing but his bare hands!
The blacksmith (in Melayu, "pandai besi", literally meaning "iron-intelligent'!) is believed to possess the skill to infuse the weapons he forges with certain "venoms". It is believed that there are two types of venom that can be infused into the belati by the experienced blacksmith. First, the venom or poison derived from organic sources such as plants and animals (much like those used on poisoned darts or arrows although less potent). The second, believed to be a more potent venom, comes from charms that the blacksmith "infuses" by way of spells and incantations all throughout the forging process.
As mentioned, the belati is suitable for both slashing and stabbing but would prove less efficient if put to use as a chopping instrument due to the thinness and lightness of its blade. Anyhow, that in no way takes the edge off (excuse the pun) this excellent weapon as it's thin and light blade is its strength, so to speak, as these features makes the belati extremely easy to carry, deploy and then conceal. The thinness of its blade coupled with the skill of weapon-concealment of the Pendekar makes the belati virtually invisible in the eyes of the enemy. This by the way, is of the utmost importance as the element of surprise makes a huge difference in an all-out fight for survival. Also, due to this nature of the weapon (its light weight), it can be incorporated into the trapping and grappling range to augment techniques such as joint locks and manipulations.
As a general guideline, slashing can be done with both the point or the edge of the belati. The targets when doing so are the major muscle groups and arteries. However, slashing with the point of the belati can rarely be done all the way to the way to the bones, as can be done when using its edge, just to the skin and the outer layers of muscle.
The internal organs, major target themselves, are more accessible through stabbing techniques as opposed to slashing because stabbing provides more depth of penetration as the length of the belati is greater than its width.
The blunt side of the blade (opposite the edge), the handle and even the wooden sheath of the belati is used for hitting or knocking the enemy as a set up for other techniques. These parts of the belati are also invaluable when performing trapping or joint-locking techniques as they present the belati-fighter with several (less damaging) alternative options other than the above mentioned slashing and stabbing techniques. These options further optimize the use of the whole of the belati as a weapon. Although seemingly violent, these techniques were designed with the aim of immobilizing the enemy as fast as possible. As such, the techniques rely on simple, quick, yet effective movements aimed at the vulnerable areas of the body. Anyhow, the Pendekar must always exercise the proper degree of physical and mental control based on reason, mercy and also the gravity of the situation so as not to cross "the point of no return", if you may (unless of course, there are no other options).
Belati Fighting Concepts Attack
As can be expected of any discipline of the martial arts, especially one which is in essence an art of war, there are philosophies and concepts that are held as the foundations of the art. This is true in relation to Harimau Berantai Pencak Silat as well. For the purpose of this article however, we will examine briefly a couple of the belati knife-fighting concepts as there are, in reality, too many concepts that would necessitate the writing of not one but a few volumes of books to satisfy the complete explanation of each of them.
The first concept we will examine is that of attacking. Despite the prevalent attitude of many in the martial arts circle who hold true to the concept of defense and defense alone, Harimau Berantai Pencak Silat, while not opposing the merit of defensive techniques (we practice many such techniques ourselves), believes that in offense (attacking) there is also an advantage to be gained. Technically speaking, the person who attacks is in actual fact controlling the tempo of the fight. This does not necessarily mean that the attacker would prevail in that conflict, just that the ensuing actions taken in that conflict will result directly from the attacker's initial attack. What does determine the outcome of the conflict however, amongst other things, is the skill level of both parties in the conflict (the attacker and the defender). Provided that the attacker has a higher degree of skill and understanding of knife-fighting, the fact that the attacker has taken the initiative (by attacking) will actually put the defender in the position of having to respond with an appropriate defensive (or counter-attacking) technique.
In the case of knife-fighting, where a simple touch or flick of the knife could prove to be fatal, the defender's response has to be exact as the margin of error in a knife-fight is next to nil. This type of response by the defender can only be made if he or she is trained in knife-fighting because it takes the proper instincts to react to a knife attack by a knife-fighter who is attacking with not one but a combination of stabs and slashes at blinding speed. Instinct, not thought, is the most important attribute because there practically is no time to think when someone is coming at you with a knife and all it takes for him (or her) to seriously injure you is just for one of those many slashes and stabs to touch you.
Even more importantly, the mental conditioning that it takes to stay perfectly calm during a knife fight, let alone facing a knife attack, can only be achieved through constant and correct training on the part of the knife-fighter. Even then, there are no guarantees that the trained man will win or even survive a knife-fight as there are too many variables in a knife-fight that are completely out of the knife-fighter's control (such as the skill level of the enemy). However, the complete absence of proper knife-fighting training is a sure-fire guarantee of defeat in a knife-fight, which practically translates into serious bodily injury or even death.
That, unfortunately, is the reality. So, it stands to reason that a belati-fighter, being the more experienced with the knife (both mentally and physically), has an incredibly higher chance of scoring when attacking as he only needs to touch his enemy in order to end the fight.
One issue that needs to be addressed is the fact that attacking is not against the code of honour of the pendekar as the attack is made when the "state-of-battle" has already commenced, when such "diplomatic" solutions as fleeing or backing down is no longer valid (e.g. when one is protecting one's child from being kidnapped). In the final analysis, attacking is a valid protection strategy as it sets the psychological-precedence or mind-set that the belati-fighter is no longer the "victim" but rather the "aggressor" and goes a long way when you're in a knife-fight, fighting for your life! To summarize, in a nutshell, the attacking-strategy of the Harimau Berantai Pencak Silat Pendekar can best be summed up by the famous saying "Sometimes the best defense is a good offense".
Another facet of Harimau Berantai Pencak Silat training that is directly related to its attacking-strategy is the study of the vulnerable parts of the human anatomy especially those directly related to the applications of the belati. Contrary to popular belief, the head, neck and torso are not the only parts of the human anatomy that are the targets in a knife-fight. Actually, these are secondary targets as the priority in a knife-fight is to neutralize the main threat which is the weapon-arm of the enemy (even when the belati-fighter is the one attacking). As a matter of fact, there are at least 8 different targets on the arm that if cut and left untreated, would make the enemy succumb in 15 to 30 seconds (which is still too long a time in a knife-fight). The same goes for the legs as well, and the effect takes place even faster in a highly fit person compared to a person with a low level of fitness, paradoxically.
This type of knowledge is essential in the proper study of the belati and as such is given priority. However, the emphasis here is not so much on the damage that can be done as much as the repair that can be salvaged once an injury has occurred, whether it be on the enemy or one's self. This is due to the fact that in Harimau Berantai Pencak Silat philosophy, a life is something sacred and once taken, no one can bring it back. The fact that violent circumstances have to be neutralized (by the same means, sometimes) in order to protect the innocent does not justify the taking of a life if it could be avoided.
So in order for the Pendekar to be in complete control of his situation, he has to be able to administer quick and precise first aid measures as well as justice. Both traditional and contemporary techniques are given emphasis in the administration of first first aid in this respect. Only after a practitioner of Harimau Berantai Pencak Silat is able to effectively master both the "killing" and the "healing" aspects of the art is he or she a true practitioner.
In the end, it boils down to a question of responsibility, both on the part of the art and the practitioner. For the art would be a highly irresponsible one if it did not at the very least provide some alternatives to its potentially "killing" techniques. At the same time, that would be of no use whatsoever if the practitioner does not have the control and restraint it takes to be able to keep a balance between the administration of justice, the coldness of brutality and the virtue of mercy. After all, it is the preservation of life that is of the utmost concern when neutralizing a potential threat, and at the highest levels of Harimau Berantai Pencak Silat (or any other martial art), that includes the enemy's.
This article was originally published in Silat Warrior magazine.
By Guru Jak Othman
A figure stands in the shadows, her hands moving gracefully in slow, smooth dance-like gestures as her light footsteps bring her ever closer to you. Her state of subtle grace hides any trace of danger she might pose to you.
In your mind, you see nothing but beauty in her movements. That is until you realize your eyes are hurting and before you can recover you feel sharp pains all over your body.
You start to lose consciousness, before you could understand what actually caused you to be in the position you are now thrust into.
You will not know that the pain in your eyes was caused by the sand that she kicked in your face as she got closer to you, while you were preoccupied with her "performance". You will never realize that the sharp pain you felt all over your body was caused by the multiple stabs and slashes she rained on you with a weapon you did not and will not see. There was no reason for you to defend yourself, though you were well armed, for you foresaw no danger at all.
This is one likely scenario that could've taken place during the occupation of the Melayu Archipelago (which includes the most part of what is now the South East Asian countries) by either the Portuguese, Dutch, English, Spanish, Japanese or American colonizing forces. The woman in the story could've been from any of the countries amongst the South East Asian countries. The soldier who met with misfortune could've been from any of the aforementioned colonizing forces. However, the art with which the woman so cleverly put to use to defeat her bigger enemy would most likely be none other than Silat.
Though relatively an exotic, if not obscure, art amongst the majority of the Western martial-arts community until just about a decade back, Silat has had the good fortune of being highlighted by the growing interest in the weapon arts of the South East Asian countries. However, the rarity of correct information and instructors outside its countries of origin have been the major setback to the wider spread of the art itself. This article has been written with the sincerest intentions to alleviate, if not remedy, this problem.
Silat is the indigenous martial art of the Melayu people who mainly populate the South East Asian countries of Malaysia, Indonesia, Brunei, Singapura and the Philippines. In Malaysia, Singapura and Brunei it is known as Seni Silat. In Indonesia it is widely known as Pencak Silat or Pentjak Silat. However, in the Philippines it is more widely recognized as Kali Silat. By any name it may be called, Silat still is renowned not only for its highly practical and incredibly deadly approach and technique but also for its highly stylized and artistic movements, philosophy and spirituality.
The term "Silat" itself has many interpretations as to its origin. One interpretation states that the term "Silat" comes from the Melayu word "Si Kilat" which means "one who is as fast as lightning". Lightning is taken as an example because it signifies power, speed and elusiveness, not to mention brightness (of the mind). The fact that lightning always takes the least resistive path towards its point of destination makes it all the more compatible as an example for silat's combative approach and philosophy. These ideally are the traits of the pendekar (Silat warrior) in combat. The pendekar's (Melayu silat warrior) prowess, especially in the state of running amuk ("amok" in English) is legendary (not to mention, feared) amongst the many colonizing forces that have dared set foot in the Melayu Archipelago.
However, it has to be noted that the state of amuk should not be interpreted as that of "temporary insanity", where all sense of thought and reasoning is non-existent. It is rather a state whereby the warrior has put aside all notions of self-preservation and is ready to give his life for the cause he is fighting for.
Silat, not unlike the other martial-arts of the East, comes in many different and unique styles. From the tiger-mimicking stances of the Harimau Sumatera-style (no relation to Harimau Berantai), the crowd-pleasing Silat Pulut antics (performed at traditional Melayu weddings and ceremonies), the death-defying acrobatic feats of Silat Seni Gayung to the "no-nonsense"-straight-postured approach of Silat Cekak, the varieties of Silat styles, techniques and weaponry is limited only by the limitations of the human imagination, literally.
However, it is Silat's dance-like movements while in combat, the Bunga Silat, that usually catches the attention of the uninitiated observer. In essence, the Bunga Silat is actually a highly sophisticated and "devious", for lack of a better word, method of deceiving the opponent so as to gain the upper hand in combat. The exact details of how this is achieved is a highly guarded secret in Silat that is revealed to the student only when the Guru (teacher) has fully trusted the student with the responsibility of not misusing this knowledge.
Though aesthetically pleasing, to the untrained eye, the Bunga Silat unfortunately creates the illusion that Silat is a "soft"-style martial art. In actuality, unlike other martial- disciplines, Silat is rarely divided into any categories of "hard" or "soft" (or internal and external) -styles as almost all Silat styles profess to practice both "hard" and "soft" techniques within their respective curriculums.
In Silat, the mind, body and spirit are seen as being in a state of togetherness (which many would not argue otherwise), thus the training is directed towards the cultivation of the "person" as a "whole" and not just towards perfecting his or her fighting ability.
Now, this author will humbly try to introduce one of those many Silat styles, one which for all intents and purposes should and would never claim itself to be the best amongst the rest. One which has at its roots the ultimate goal of martial practitioners the world over, that is the preservation of life in the face of injustice. One which professes the ideals of reason and mercy, yet the firm and swift execution of justice when absolutely necessary. And, one which is realistic and honest enough for the Guru to tell his students, "I can show you hundreds of ways to kill a man, but I cannot even show you one way to bring him back to life!". This is the Silat style known as Harimau Berantai.
Literally, Harimau Berantai Pencak Silat is translated as "the Chained Tiger" Pencak Silat and it has a history that spans generations. Originating from the island of Java, it has a rather unique and interesting birth. It got its title from one of the many pendekars (Silat warriors) of its clan, a pious man named Kiyai Haji Asraf. In its traditions it is said that this style was taught to the founder by a woman in his dreams, the Puteri Mayang Mengurai. Together with the other members of his clan, he would go into battle against the Dutch who were colonizing Java at that period of time. His ferocity in battle so astounded and frightened his enemies that they bestowed upon him the infamous title of "the Tiger".
However, the title was quickly replaced by the Javanese people with "the Chained Tiger", whereby the "chain" signified the degree of self-control and religious faith Kiyai Haji Asraf had in himself owing to his piousness. Ever since then, Kiyai Haji Asraf's whole clan has been called the Harimau Berantai and subsequently, the Silat that they practiced was known by the same title. It has to be noted that until today, a high degree of self-control is still the main prerequisite for all those wishing to study this system of silat, even more so than athletic or fitness abilities (as deficiencies in these areas are more easily rectified).
An interesting quality of Harimau Berantai Pencak Silat is the role in which women have played in it. In the olden days, the women, dubbed Srikandi, actually went to war together with their male counterparts. As a matter of fact, the current Grandmaster of the art is Mak Guru Ramentan Sameon ("Mak Guru" being her title), a lady who is now in her sixties. Not surprisingly, the main weapons of the art such as the pisau belati (knife), kerambit (a small crooked knife popularly known as the "tiger claw") and ekor pari (whip) are essentially light and easily concealed (the whip being wrapped around the waist under the garment or sarong), perfect for use by both women and men.
This brings us to the main subject that this article wishes to address, that of Harimau Berantai Pencak Silat weaponry. We will begin with a general introduction of the major weapons followed by a more in-depth look at the applications, concepts and techniques used for those weapons in combat. As can be grasped from the information so far, this system was originally an art of war, hence the varied weapons employed in combat.
In preparation for battle that could occur at a moment's notice, the Harimau Berantai pendekar had to be able to fight using all manner of weapons that were commonly used in that time period. Weapons such as the keris (traditional Melayu dagger), knife, sword, spear and cane were part of the arsenal of all the pendekars (and not just those from the Harimau Berantai clan). However, there are a few weapons that are focused on in Harimau Berantai Pencak Silat . The first and foremost would be the pisau belati, which is none other than the knife.
The pisau belati (literally, Belati Knife) is an ancient weapon of the Melayu and as such has a glorious history of it's own as far as Silat is concerned. Interestingly enough, the belati (as it is more comonly called) was not a specifically designed weapon of war but was just the everyday common utility knife that was used for everything from cutting vegetables to cutting rope to slaughtering animals and of course, when needed to, protecting one's life. This made it seem the most logical weapon as it was readily available and in the right hands, downright deadly.
This thin bladed weapon was infamous during the Dutch occupation for it's deadly sharpness and "venom" (which will be elaborated on later) especially in the hands of the Srikandi (women warriors) of Java. According to Mak Guru Ramentan (or Mak Intan, as she is affectionately known), the current grandmaster of Harimau Berantai Pencak Silat, the belati was one of the weapons that claimed the most number of Dutch lives when they were forced to fight at close range. With a few simple moves, the belati-fighter would stop the Dutch dead in his tracks, literally.
It is the belati-fighting applications, concepts and techniques that has become the very foundation of Harimau Berantai Pencak Silat's art to this very day. Its influence is so wide-reaching that its applications, concepts and techniques are used even for the empty-hand fighting aspect of the art. Just to touch on that, the empty-hand fighting in Harimau Berantai Pencak Silat is also directly influenced by all the other major weapon's concepts, applications and techniques in its arsenal. So, in order to get properly acquainted with Harimau Berantai Pencak Silat, you would have to befamiliar with the belati as well as the other traditional weapons of the art. As such, the belati-fighting art deserves an in-depth study in its own right.
Firstly, we need to be familiar with the physical characteristics of the belati itself. In general, the length of the belati's blade is between 10 to 20 centimeters depending on the size of its user's hands. The belati, like any single-edged knife, can basically perform two basic techniques, slashing and stabbing (a well-made belati is said to be able to slash all the way to the enemies' bones!).
The Art of Belat Knife
The belati is forged from at least three different metals, so as to insure that the strength of the thin blade is sufficient when it has to endure the extreme rigors of combat. A weak blade might break on contact with the enemy's bone (or article of clothing such as a belt-buckle). According to the Grandmaster, Mak Intan, the belati owned by Puteri Mayang Mengurai (who taught the founder of the art, Haji Asraf) was made from 27 different types of metals.
Back in the olden days, the blacksmith responsible for the forging of the belati would fast for a day before starting the process. The blacksmith whose responsibility it was to forge the belati of Puteri Mayang Mengurai was said to have fasted for 90 days before beginning the task. After having done so, he forged the legendary weapon using nothing but his bare hands!
The blacksmith (in Melayu, "pandai besi", literally meaning "iron-intelligent'!) is believed to possess the skill to infuse the weapons he forges with certain "venoms". It is believed that there are two types of venom that can be infused into the belati by the experienced blacksmith. First, the venom or poison derived from organic sources such as plants and animals (much like those used on poisoned darts or arrows although less potent). The second, believed to be a more potent venom, comes from charms that the blacksmith "infuses" by way of spells and incantations all throughout the forging process.
As mentioned, the belati is suitable for both slashing and stabbing but would prove less efficient if put to use as a chopping instrument due to the thinness and lightness of its blade. Anyhow, that in no way takes the edge off (excuse the pun) this excellent weapon as it's thin and light blade is its strength, so to speak, as these features makes the belati extremely easy to carry, deploy and then conceal. The thinness of its blade coupled with the skill of weapon-concealment of the Pendekar makes the belati virtually invisible in the eyes of the enemy. This by the way, is of the utmost importance as the element of surprise makes a huge difference in an all-out fight for survival. Also, due to this nature of the weapon (its light weight), it can be incorporated into the trapping and grappling range to augment techniques such as joint locks and manipulations.
As a general guideline, slashing can be done with both the point or the edge of the belati. The targets when doing so are the major muscle groups and arteries. However, slashing with the point of the belati can rarely be done all the way to the way to the bones, as can be done when using its edge, just to the skin and the outer layers of muscle.
The internal organs, major target themselves, are more accessible through stabbing techniques as opposed to slashing because stabbing provides more depth of penetration as the length of the belati is greater than its width.
The blunt side of the blade (opposite the edge), the handle and even the wooden sheath of the belati is used for hitting or knocking the enemy as a set up for other techniques. These parts of the belati are also invaluable when performing trapping or joint-locking techniques as they present the belati-fighter with several (less damaging) alternative options other than the above mentioned slashing and stabbing techniques. These options further optimize the use of the whole of the belati as a weapon. Although seemingly violent, these techniques were designed with the aim of immobilizing the enemy as fast as possible. As such, the techniques rely on simple, quick, yet effective movements aimed at the vulnerable areas of the body. Anyhow, the Pendekar must always exercise the proper degree of physical and mental control based on reason, mercy and also the gravity of the situation so as not to cross "the point of no return", if you may (unless of course, there are no other options).
Belati Fighting Concepts Attack
As can be expected of any discipline of the martial arts, especially one which is in essence an art of war, there are philosophies and concepts that are held as the foundations of the art. This is true in relation to Harimau Berantai Pencak Silat as well. For the purpose of this article however, we will examine briefly a couple of the belati knife-fighting concepts as there are, in reality, too many concepts that would necessitate the writing of not one but a few volumes of books to satisfy the complete explanation of each of them.
The first concept we will examine is that of attacking. Despite the prevalent attitude of many in the martial arts circle who hold true to the concept of defense and defense alone, Harimau Berantai Pencak Silat, while not opposing the merit of defensive techniques (we practice many such techniques ourselves), believes that in offense (attacking) there is also an advantage to be gained. Technically speaking, the person who attacks is in actual fact controlling the tempo of the fight. This does not necessarily mean that the attacker would prevail in that conflict, just that the ensuing actions taken in that conflict will result directly from the attacker's initial attack. What does determine the outcome of the conflict however, amongst other things, is the skill level of both parties in the conflict (the attacker and the defender). Provided that the attacker has a higher degree of skill and understanding of knife-fighting, the fact that the attacker has taken the initiative (by attacking) will actually put the defender in the position of having to respond with an appropriate defensive (or counter-attacking) technique.
In the case of knife-fighting, where a simple touch or flick of the knife could prove to be fatal, the defender's response has to be exact as the margin of error in a knife-fight is next to nil. This type of response by the defender can only be made if he or she is trained in knife-fighting because it takes the proper instincts to react to a knife attack by a knife-fighter who is attacking with not one but a combination of stabs and slashes at blinding speed. Instinct, not thought, is the most important attribute because there practically is no time to think when someone is coming at you with a knife and all it takes for him (or her) to seriously injure you is just for one of those many slashes and stabs to touch you.
Even more importantly, the mental conditioning that it takes to stay perfectly calm during a knife fight, let alone facing a knife attack, can only be achieved through constant and correct training on the part of the knife-fighter. Even then, there are no guarantees that the trained man will win or even survive a knife-fight as there are too many variables in a knife-fight that are completely out of the knife-fighter's control (such as the skill level of the enemy). However, the complete absence of proper knife-fighting training is a sure-fire guarantee of defeat in a knife-fight, which practically translates into serious bodily injury or even death.
That, unfortunately, is the reality. So, it stands to reason that a belati-fighter, being the more experienced with the knife (both mentally and physically), has an incredibly higher chance of scoring when attacking as he only needs to touch his enemy in order to end the fight.
One issue that needs to be addressed is the fact that attacking is not against the code of honour of the pendekar as the attack is made when the "state-of-battle" has already commenced, when such "diplomatic" solutions as fleeing or backing down is no longer valid (e.g. when one is protecting one's child from being kidnapped). In the final analysis, attacking is a valid protection strategy as it sets the psychological-precedence or mind-set that the belati-fighter is no longer the "victim" but rather the "aggressor" and goes a long way when you're in a knife-fight, fighting for your life! To summarize, in a nutshell, the attacking-strategy of the Harimau Berantai Pencak Silat Pendekar can best be summed up by the famous saying "Sometimes the best defense is a good offense".
Another facet of Harimau Berantai Pencak Silat training that is directly related to its attacking-strategy is the study of the vulnerable parts of the human anatomy especially those directly related to the applications of the belati. Contrary to popular belief, the head, neck and torso are not the only parts of the human anatomy that are the targets in a knife-fight. Actually, these are secondary targets as the priority in a knife-fight is to neutralize the main threat which is the weapon-arm of the enemy (even when the belati-fighter is the one attacking). As a matter of fact, there are at least 8 different targets on the arm that if cut and left untreated, would make the enemy succumb in 15 to 30 seconds (which is still too long a time in a knife-fight). The same goes for the legs as well, and the effect takes place even faster in a highly fit person compared to a person with a low level of fitness, paradoxically.
This type of knowledge is essential in the proper study of the belati and as such is given priority. However, the emphasis here is not so much on the damage that can be done as much as the repair that can be salvaged once an injury has occurred, whether it be on the enemy or one's self. This is due to the fact that in Harimau Berantai Pencak Silat philosophy, a life is something sacred and once taken, no one can bring it back. The fact that violent circumstances have to be neutralized (by the same means, sometimes) in order to protect the innocent does not justify the taking of a life if it could be avoided.
So in order for the Pendekar to be in complete control of his situation, he has to be able to administer quick and precise first aid measures as well as justice. Both traditional and contemporary techniques are given emphasis in the administration of first first aid in this respect. Only after a practitioner of Harimau Berantai Pencak Silat is able to effectively master both the "killing" and the "healing" aspects of the art is he or she a true practitioner.
In the end, it boils down to a question of responsibility, both on the part of the art and the practitioner. For the art would be a highly irresponsible one if it did not at the very least provide some alternatives to its potentially "killing" techniques. At the same time, that would be of no use whatsoever if the practitioner does not have the control and restraint it takes to be able to keep a balance between the administration of justice, the coldness of brutality and the virtue of mercy. After all, it is the preservation of life that is of the utmost concern when neutralizing a potential threat, and at the highest levels of Harimau Berantai Pencak Silat (or any other martial art), that includes the enemy's.
This article was originally published in Silat Warrior magazine.
Sitbatan Kali Silat is now affiliated with "Filipino Fighting Arts International".
Sitbatan Kali Silat is now affiliated with "Filipino Fighting Arts International". Filipino Fighting Arts International is a Filipino martial arts organization with chapters and members worldwide, including the Philippines, Australia, the Middle East, North America and Europe. It is affiliated with other international FMA (Filipino Martial Arts) organizations including Arnis Philippines and the International Modern Arnis Federation of the Philippines (IMAFP) headquartered in Manila, Philippines, and Tipunan International.headed by Master Jay de Leon headquartered in Los Angeles, United States of America.
This was approved by Master Jay de Leon November 20, 2010.
This was approved by Master Jay de Leon November 20, 2010.
Saturday, November 20, 2010
ArnisTournament in Manila on Dec. 12
Tipunan International, under the auspices of Filipino Fighting Arts Int'l (FFAI) headed by Master Godofredo Fajardo, will be hosting an arnis tournament in Manila on Dec. 12, 2010, Sunday. The venue will be the Antonio Maceda Integrated School in Santa Mesa, Manila, Philippines.
The tournament is open to all styles.
There will be competitions for men and women in anyo as well as laban laro. There will be also be an Open Championship in laban laro for men and women, and cash prizes will be awarded to the first three places in the men's and women's division. There will also be valuable door prizes awarded throughout the tournament.
Numerous arnis teams are expected from greater Manila, as well as Luzon and the Visayas.
A flyer with more details including a full schedule of events will be posted here soon.
Be there or be square.
Jay de Leon
jakkdawg@yahoo.com
(0905) 315-8515 (Phil. cell phone)
The tournament is open to all styles.
There will be competitions for men and women in anyo as well as laban laro. There will be also be an Open Championship in laban laro for men and women, and cash prizes will be awarded to the first three places in the men's and women's division. There will also be valuable door prizes awarded throughout the tournament.
Numerous arnis teams are expected from greater Manila, as well as Luzon and the Visayas.
A flyer with more details including a full schedule of events will be posted here soon.
Be there or be square.
Jay de Leon
jakkdawg@yahoo.com
(0905) 315-8515 (Phil. cell phone)
The Fighting Weapons of Filipino Martial Arts
The Fighting Weapons of Filipino Martial Arts
By Jay de Leon
Originally Published in WorldBlackBelt, 2004
Filipino Martial Arts (FMA) is a primarily a weapons-based system. While the uninitiated may equate FMA with stickfighting, that is, of course, a misconception, as FMA teaches many weapon systems. An advanced FMA practitioner is very knowledgeable in the use of almost any weapon (for some including firearms, but for purposes of this article, we will exclude firearms).
Depending on the FMA system, most will involve training in the following types of weapons—bladed, impact, flexible, and projectiles. There are, however, a few specific weapons that have come to be associated with FMA, in addition to the obvious stick. Just as there are weapons associated with kung-fu fighters, samurai warriors or ninja assassins, so too are there weapons associated with Filipino martial arts.
Here then are the weapons associated with FMA. Some are obvious, some may surprise you. And even for the obvious ones, here are some factoids and trivia about the weapon, as well as famous users of the weapon.
Stick
Bastons
From the author’s collection.
From top to bottom: wooden sword
– bahi, flat; pair of sticks
– rattan, varnished with design; pair of sticks
– bahi, with etchings; pair of sticks
– kamagong, with etchings.
Even the art of “arnis” itself has been conveniently (and erroneously) called “stickfighting,” so it is only natural that the stick (“yantok,” “baston,” “garote,” or “olisi”) itself is identified as the main weapon of FMA. Most of us are familiar with the rattan stick, around 28” long, varnished or plain, sometimes with some fancy design burnt or etched into the wood. By the way, the etchings have a purpose other than decoration-- they serve as a tactile marker to the user where he is holding the stick. Depending on the style and the practitioner’s preference, the sticks used in FMA have varying lengths, material, heft, diameter, and finish. They may be anywhere from 18” to 44” in length, .5” to 1.5” in diameter, usually made of rattan, but may be made from bamboo or any durable wood as well as the beautiful hardwoods of the Philippines—“kamagong” (“ebony,” a naturally black wood), “bahi” (“palm,” a rich, reddish brown wood with black streaks), etc. They may be flat (to simulate a sword), or whippy (called “patpat,” like the very thin stick Bruce Lee used against Dan Inosanto in “The Game of Death”). Also, bear in mind that the rattan stick is simply a training tool. Some FMA systems actually teach stick techniques using law enforcement and security weapons like the baton, nightstick, and the ASP (expandable metal or aluminum baton).
Balisong
Some claim that the origin of the “balisong” knife, a three-piece gravity operated folding knife, is not even Filipino, but nowadays, the weapon is identified as and called “Filipino butterfly knife,” not to be confused with the kung-fu butterfly swords. It is the opening, closing, deployment and manipulation of the knife, and the hand dexterity that goes with it, that makes its use fascinating to watch. A few “balisong” experts include Grandmaster Amante “Mat” Marinas of “Pananandata” in Philadelphia, Jeff Imada, Sonny Umpad, and my Grandmaster Godofredo Fajardo and his senior student, Master Nilo Limpin. They know a hundred fancy ways of opening and closing a “balisong” knife, manipulating double “balisongs” at the same time, including aerial tricks. As far as I know, these gentlemen still have all their extremities.
Whip
Whip
From the author’s collection.
From top to bottom:
chain, weighted chain, whip,
nunchaku, combat tomahawk,
push dagger.
Some FMA systems include training in the whip as part of their curriculum. For example, Sayoc Kali does not only teach the use of the whip, they make and sell their own whips, and really nice ones at that. There are many kinds of whips, ranging from the 60-footer bullwhips to the fairly innocuous horsewhips or “calesa” (horse-drawn buggy) whips. I have ridden “calesas” a few times in the Philippines and not once did I see the driver whip the horse with the “calesa” whip. Instead, they used to it to bang against the buggy, make an infernal racket, and wake up the horse to go faster. The late Mangisursuro Mike Inay of San Jose, CA had a wicked version of the whip. He took a regular “baston” (stick) and tied about half a foot of wire with barbed metal tip at the end. At one of the Gasshuku (training camp) annual seminars, I witnessed Mike Inay and son, Jason, give a thrilling full-speed demo of these whips, going at each other. Other styles use a chain (cadena or tanikala) or the dried tail of a stingray (buntot pagi). Any of these whips become even more dangerous when used in tandem with a knife, as in “latigo y daga,” a variation of “espada y daga,” or sword and knife.
Palm stick
Palm StickFrom the author’s collection.
From left to right :
wooden training knife
– kamagong; wooden training knife
– bahi; wooden training knife
– from Pangasinan; wooden pakal
– kamagong; wooden pakal
– with pointed edges; wooden pakal
– rattan; wooden pakal – bahi, flat; wooden pakal – with pointed edges; kubotan – metal, commercial keyring.
The palm stick (maliit na kahoy, pakal) is similar to the modern day “kubotan” you see people have attached to their keyrings. It is not uniquely Filipino. The Japanese also have this weapon, called “yawara.” I saw this weapon first in the Philippines training in jiu-jitsu (we knew it as combat judo then), as part of our “yawara” training. I then had it in arnis, where it had some nasty variations. Instead of the usual wooden, diamond-shaped protrusion at the end, sometimes razor-sharp blades or metals were inserted. Or it could be made up of carabao (Philippine water buffalo) horn, with points at the end, hence the name “dos puntas” or “dulo-dulo” (two points). As a final note, in addition to this being a very effective weapon, it is also one of the best training tools, with applications in knife as well as empty hands fighting, to improvised weapons application.
Nunchuku
Bruce Lee Any Bruce Lee fan knows what a “nunchuku” or nunchuks (also spelled nunchaku or nunchucks) are. Bruce Lee learned the nunchuks from Dan Inosanto. The weapon itself is a farm implement (a rice flail). Just like the palm stick, this weapon is not uniquely Filipino, but has now been identified with FMA. I will give you my personal experience with the nunchuks (tabak toyok) in the Philippines. In my travels in the Philippines, I never saw a farmer flail away at rice with a “tabak toyok.” Either its use was before my time, or I saw “modern” farms only. But I saw many a mean hombre flail away at an opponent with a “tabak toyok.” The weapon was not identified specifically with FMA but with martial arts in general. I remember going to a “shorin-ryu” school and learning nunchuks from students who learned it not from the school but from other advanced students. Somehow, every black belt seemed to know how to use one by the time he got to that level, not sure if it was thanks to FMA.
Bolo
Bolo
From the author’s collection.
From top to bottom:
Visayan sword, bolo with horsehoof pommel, bolo with flared pommel, kris knife, kris training blade, “punyal” (thrusting knife), and “balisong.”
The Philippine bolo can be described as either a long knife or a short sword. There are many types of bolo, with different configurations, length, use, and even names—bolo, itak, gulok, tabak, barong. Normally a farm implement, it can also be an awesome weapon, used historically by farmers to settle disputes, by the “katipuneros” (revolutionaries) against the Spaniards, and by the “Bolo Battalion”, a famed military and guerrilla unit, against the Japanese In World War II. I remember growing up in a suburb of the city of Manila, and every household had several bolos—probably at least one in the kitchen, and another one with the garden tools. In case of a fight, I would probably have grabbed the latter one, and the assailant would probably have died of tetanus from the rust and dirt, rather than fatal wounds. I should point out that the Muslim blades, though, were far more serious affairs—many of them designated for the art of war (see next two weapons).
KampilanKampilan
Unlike the bolo, the “kampilan,” the weapon most favored by the Moros (Muslims) of Mindanao, Philippines is solely meant for battle, the equivalent of the Japanese samurai’s “katana”. It is a two-handed, single-edged sword, about 42 inches long, noted for its fearsome look. The hilt is quite long to counterbalance the weight and length of the blade. Most hilts are made of various native hardwood, invariably with a pommel shaped in an animal's wide-open mouth, like a crocodile, or the tail of a bird. Some “kampilans” sport a spikelet at the tip, and feature engraved blades (from late 1800’s to early 1900’s). Just like the Saracen blade of the Moors in Europe, the “kampilans” cut a wide swath of death and destruction in many raids and battles waged by the Moros of Mindanao.
Kris
Kris Originally associated with Indonesian culture and its martial art, “pencak silat,” the highly mystical kris quickly became another favorite of the Moros of the Philippines. The kris is readily recognizable by the wavy shape of its blade, which according to animistic lore, is indicative of either a lightning-bolt strike to earth from the heavens or a snake. In fact, the kris was developed as a quick strike (thrust) weapon that was patterned from nature, keeping in mind that in combat, a thrust is considered to be the final or killing blow of bladed combat. As for the combat application of the wave blade, it allows for easier body penetration, makes a nastier wound than a straight blade as it slips easily between bones and through joints, and facilitates retraction for more attacks. For most warriors, the kris was a prized possession, a symbol of nobility, often given a name and passed on from father to son. For FMA practitioners, the kris has become a symbol of mysticism and warrior nobility, as well as a lethal weapon of combat.
Metaphysics or Enchantment
This is a much discussed and debated topic of FMA. Technically, they are not weapons, but to the extent they can protect the owner from harm or wounds, or confuse or incapacitate the enemy, then they become accoutrements or instruments of war or combat. We are talking about amulets or charms (anting-anting) and prayers (orasyones). Amulets are physical, such as human bones (sometimes dug up from graves), special stones, etc., while prayers are special incantations, with spiritual attributes or powers, attributed to God with overtly Catholic references, oftentimes with specific goals, i.e., to confuse the enemy, to make the owner impervious to weapons, etc. The most notable Grandmaster who believed in this was Antonio “Tatang” Ilustrisimo, who carried an amulet and had an “orasyon” tattooed across his chest. It must have worked for him, since he survived a lifetime of death matches and violent street encounters to live to a ripe old age of ninety-three.
Projectiles
From the ancient times to the present, projectiles are one of the most feared weapons, whether in jungle skirmishes, guerrilla ambushes, or in urban warfare. The fear is understandable, for this particular weapon can be launched safely from a distance, from cover or concealment, usually with deadly effect. For purposes of this list, we are excluding hollow points and surface-to-air missiles. This list includes wooden torpedo-shaped darts (bagakays, which you throw by the handful), blowguns (sometimes with poisoned projectiles), bows and arrows (pana), slingshot (tirador), and the modern day dart, favored by urban hoodlums. The latter weapon was made up of less than a foot-long steel shaft, razor sharp at the business end and with a feather at the other end, just like an arrow, launched from a slingshot. While still living in the Philippines, I saw many pictures of victims of this projectile, either lifeless or awaiting surgery, with the projectile embedded halfway in their skulls, the feather sticking out.
As a final note on weapons, the question always arises, what good is it learning some ancient weapon I will not be carrying with me in a fight, anyway. The answer, little grasshopper, lies in the two stones you have to snatch from my palm—improvised weapons and empty hands translation. Got them? Now go to your nearest FMA master for a lifetime of training to learn the meaning of the two stones. Good luck with your training.
Copyright, Jay de Leon, 2004
By Jay de Leon
Originally Published in WorldBlackBelt, 2004
Filipino Martial Arts (FMA) is a primarily a weapons-based system. While the uninitiated may equate FMA with stickfighting, that is, of course, a misconception, as FMA teaches many weapon systems. An advanced FMA practitioner is very knowledgeable in the use of almost any weapon (for some including firearms, but for purposes of this article, we will exclude firearms).
Depending on the FMA system, most will involve training in the following types of weapons—bladed, impact, flexible, and projectiles. There are, however, a few specific weapons that have come to be associated with FMA, in addition to the obvious stick. Just as there are weapons associated with kung-fu fighters, samurai warriors or ninja assassins, so too are there weapons associated with Filipino martial arts.
Here then are the weapons associated with FMA. Some are obvious, some may surprise you. And even for the obvious ones, here are some factoids and trivia about the weapon, as well as famous users of the weapon.
Stick
Bastons
From the author’s collection.
From top to bottom: wooden sword
– bahi, flat; pair of sticks
– rattan, varnished with design; pair of sticks
– bahi, with etchings; pair of sticks
– kamagong, with etchings.
Even the art of “arnis” itself has been conveniently (and erroneously) called “stickfighting,” so it is only natural that the stick (“yantok,” “baston,” “garote,” or “olisi”) itself is identified as the main weapon of FMA. Most of us are familiar with the rattan stick, around 28” long, varnished or plain, sometimes with some fancy design burnt or etched into the wood. By the way, the etchings have a purpose other than decoration-- they serve as a tactile marker to the user where he is holding the stick. Depending on the style and the practitioner’s preference, the sticks used in FMA have varying lengths, material, heft, diameter, and finish. They may be anywhere from 18” to 44” in length, .5” to 1.5” in diameter, usually made of rattan, but may be made from bamboo or any durable wood as well as the beautiful hardwoods of the Philippines—“kamagong” (“ebony,” a naturally black wood), “bahi” (“palm,” a rich, reddish brown wood with black streaks), etc. They may be flat (to simulate a sword), or whippy (called “patpat,” like the very thin stick Bruce Lee used against Dan Inosanto in “The Game of Death”). Also, bear in mind that the rattan stick is simply a training tool. Some FMA systems actually teach stick techniques using law enforcement and security weapons like the baton, nightstick, and the ASP (expandable metal or aluminum baton).
Balisong
Some claim that the origin of the “balisong” knife, a three-piece gravity operated folding knife, is not even Filipino, but nowadays, the weapon is identified as and called “Filipino butterfly knife,” not to be confused with the kung-fu butterfly swords. It is the opening, closing, deployment and manipulation of the knife, and the hand dexterity that goes with it, that makes its use fascinating to watch. A few “balisong” experts include Grandmaster Amante “Mat” Marinas of “Pananandata” in Philadelphia, Jeff Imada, Sonny Umpad, and my Grandmaster Godofredo Fajardo and his senior student, Master Nilo Limpin. They know a hundred fancy ways of opening and closing a “balisong” knife, manipulating double “balisongs” at the same time, including aerial tricks. As far as I know, these gentlemen still have all their extremities.
Whip
Whip
From the author’s collection.
From top to bottom:
chain, weighted chain, whip,
nunchaku, combat tomahawk,
push dagger.
Some FMA systems include training in the whip as part of their curriculum. For example, Sayoc Kali does not only teach the use of the whip, they make and sell their own whips, and really nice ones at that. There are many kinds of whips, ranging from the 60-footer bullwhips to the fairly innocuous horsewhips or “calesa” (horse-drawn buggy) whips. I have ridden “calesas” a few times in the Philippines and not once did I see the driver whip the horse with the “calesa” whip. Instead, they used to it to bang against the buggy, make an infernal racket, and wake up the horse to go faster. The late Mangisursuro Mike Inay of San Jose, CA had a wicked version of the whip. He took a regular “baston” (stick) and tied about half a foot of wire with barbed metal tip at the end. At one of the Gasshuku (training camp) annual seminars, I witnessed Mike Inay and son, Jason, give a thrilling full-speed demo of these whips, going at each other. Other styles use a chain (cadena or tanikala) or the dried tail of a stingray (buntot pagi). Any of these whips become even more dangerous when used in tandem with a knife, as in “latigo y daga,” a variation of “espada y daga,” or sword and knife.
Palm stick
Palm StickFrom the author’s collection.
From left to right :
wooden training knife
– kamagong; wooden training knife
– bahi; wooden training knife
– from Pangasinan; wooden pakal
– kamagong; wooden pakal
– with pointed edges; wooden pakal
– rattan; wooden pakal – bahi, flat; wooden pakal – with pointed edges; kubotan – metal, commercial keyring.
The palm stick (maliit na kahoy, pakal) is similar to the modern day “kubotan” you see people have attached to their keyrings. It is not uniquely Filipino. The Japanese also have this weapon, called “yawara.” I saw this weapon first in the Philippines training in jiu-jitsu (we knew it as combat judo then), as part of our “yawara” training. I then had it in arnis, where it had some nasty variations. Instead of the usual wooden, diamond-shaped protrusion at the end, sometimes razor-sharp blades or metals were inserted. Or it could be made up of carabao (Philippine water buffalo) horn, with points at the end, hence the name “dos puntas” or “dulo-dulo” (two points). As a final note, in addition to this being a very effective weapon, it is also one of the best training tools, with applications in knife as well as empty hands fighting, to improvised weapons application.
Nunchuku
Bruce Lee Any Bruce Lee fan knows what a “nunchuku” or nunchuks (also spelled nunchaku or nunchucks) are. Bruce Lee learned the nunchuks from Dan Inosanto. The weapon itself is a farm implement (a rice flail). Just like the palm stick, this weapon is not uniquely Filipino, but has now been identified with FMA. I will give you my personal experience with the nunchuks (tabak toyok) in the Philippines. In my travels in the Philippines, I never saw a farmer flail away at rice with a “tabak toyok.” Either its use was before my time, or I saw “modern” farms only. But I saw many a mean hombre flail away at an opponent with a “tabak toyok.” The weapon was not identified specifically with FMA but with martial arts in general. I remember going to a “shorin-ryu” school and learning nunchuks from students who learned it not from the school but from other advanced students. Somehow, every black belt seemed to know how to use one by the time he got to that level, not sure if it was thanks to FMA.
Bolo
Bolo
From the author’s collection.
From top to bottom:
Visayan sword, bolo with horsehoof pommel, bolo with flared pommel, kris knife, kris training blade, “punyal” (thrusting knife), and “balisong.”
The Philippine bolo can be described as either a long knife or a short sword. There are many types of bolo, with different configurations, length, use, and even names—bolo, itak, gulok, tabak, barong. Normally a farm implement, it can also be an awesome weapon, used historically by farmers to settle disputes, by the “katipuneros” (revolutionaries) against the Spaniards, and by the “Bolo Battalion”, a famed military and guerrilla unit, against the Japanese In World War II. I remember growing up in a suburb of the city of Manila, and every household had several bolos—probably at least one in the kitchen, and another one with the garden tools. In case of a fight, I would probably have grabbed the latter one, and the assailant would probably have died of tetanus from the rust and dirt, rather than fatal wounds. I should point out that the Muslim blades, though, were far more serious affairs—many of them designated for the art of war (see next two weapons).
KampilanKampilan
Unlike the bolo, the “kampilan,” the weapon most favored by the Moros (Muslims) of Mindanao, Philippines is solely meant for battle, the equivalent of the Japanese samurai’s “katana”. It is a two-handed, single-edged sword, about 42 inches long, noted for its fearsome look. The hilt is quite long to counterbalance the weight and length of the blade. Most hilts are made of various native hardwood, invariably with a pommel shaped in an animal's wide-open mouth, like a crocodile, or the tail of a bird. Some “kampilans” sport a spikelet at the tip, and feature engraved blades (from late 1800’s to early 1900’s). Just like the Saracen blade of the Moors in Europe, the “kampilans” cut a wide swath of death and destruction in many raids and battles waged by the Moros of Mindanao.
Kris
Kris Originally associated with Indonesian culture and its martial art, “pencak silat,” the highly mystical kris quickly became another favorite of the Moros of the Philippines. The kris is readily recognizable by the wavy shape of its blade, which according to animistic lore, is indicative of either a lightning-bolt strike to earth from the heavens or a snake. In fact, the kris was developed as a quick strike (thrust) weapon that was patterned from nature, keeping in mind that in combat, a thrust is considered to be the final or killing blow of bladed combat. As for the combat application of the wave blade, it allows for easier body penetration, makes a nastier wound than a straight blade as it slips easily between bones and through joints, and facilitates retraction for more attacks. For most warriors, the kris was a prized possession, a symbol of nobility, often given a name and passed on from father to son. For FMA practitioners, the kris has become a symbol of mysticism and warrior nobility, as well as a lethal weapon of combat.
Metaphysics or Enchantment
This is a much discussed and debated topic of FMA. Technically, they are not weapons, but to the extent they can protect the owner from harm or wounds, or confuse or incapacitate the enemy, then they become accoutrements or instruments of war or combat. We are talking about amulets or charms (anting-anting) and prayers (orasyones). Amulets are physical, such as human bones (sometimes dug up from graves), special stones, etc., while prayers are special incantations, with spiritual attributes or powers, attributed to God with overtly Catholic references, oftentimes with specific goals, i.e., to confuse the enemy, to make the owner impervious to weapons, etc. The most notable Grandmaster who believed in this was Antonio “Tatang” Ilustrisimo, who carried an amulet and had an “orasyon” tattooed across his chest. It must have worked for him, since he survived a lifetime of death matches and violent street encounters to live to a ripe old age of ninety-three.
Projectiles
From the ancient times to the present, projectiles are one of the most feared weapons, whether in jungle skirmishes, guerrilla ambushes, or in urban warfare. The fear is understandable, for this particular weapon can be launched safely from a distance, from cover or concealment, usually with deadly effect. For purposes of this list, we are excluding hollow points and surface-to-air missiles. This list includes wooden torpedo-shaped darts (bagakays, which you throw by the handful), blowguns (sometimes with poisoned projectiles), bows and arrows (pana), slingshot (tirador), and the modern day dart, favored by urban hoodlums. The latter weapon was made up of less than a foot-long steel shaft, razor sharp at the business end and with a feather at the other end, just like an arrow, launched from a slingshot. While still living in the Philippines, I saw many pictures of victims of this projectile, either lifeless or awaiting surgery, with the projectile embedded halfway in their skulls, the feather sticking out.
As a final note on weapons, the question always arises, what good is it learning some ancient weapon I will not be carrying with me in a fight, anyway. The answer, little grasshopper, lies in the two stones you have to snatch from my palm—improvised weapons and empty hands translation. Got them? Now go to your nearest FMA master for a lifetime of training to learn the meaning of the two stones. Good luck with your training.
Copyright, Jay de Leon, 2004
Books About Filipino Martial Arts You Should Have In Your Library
Books About Filipino Martial Arts You Should Have In Your Library
By Jay de Leon
Originally published in WorldBlackBelt, 2005
Remarkably, at this point in its history, the definitive book about Filipino Martial Arts (FMA) has yet to be written. What we have is a smattering of books that fall into two categories, books written by founders or inheritors of FMA systems about their system, or a compendium of existing systems and their grandmasters.
Spanish conquistadores and Filipino warriors
Historical meeting between
Spanish conquistadores and Filipino warriors
While these books are great historical and technical references, they give us no insight as to the cultural nuances, social values and historical background behind the formation of the FMA systems and the character and pathos of their founders. The history of FMA cannot be told without the rich panoply of Philippine history and the struggles and suffering, as well as the redemption and triumphs, of the Filipino people. It cannot be told without the backdrop of the Spanish colonization, World War II, the Japanese invasion and the American occupation, as well as the birth of Andres Bonifacio’s “Katipunan,” nascent nationalism, and the painful steps leading to national independence.
Philippine hero Andres Bonifacio,
founder of the Katipunan,
leads revolutionaries against Spain.
Ideally, writing such a tome would require the combined talents of noted Filipino authors like Quijano de Manila or Nick Joaquin, historians like Dr. Reynaldo Ileto and Dr. Marcelino Foronda, and FMA writers like Halford Jones, Reynaldo S. Galang, Steven Dowd or Amante “Mat” Marinas. Let’s hope somebody takes up the challenge.
While we are waiting for this masterpiece, I suggest building up your FMA library. Here is a list of books I recommend, including their authors, a brief description of the contents of the book, and the historical or technical relevance of the book. They range from rare, out of print books originally printed in the Philippines, to recent releases available at your local bookstore or online.
“Mga Karunungan sa Larong Arnis,” by Placido Yambao
Copyright 1957, University of the Philippines
Mga Karunungan sa Larong Arnis
Mga Karunungan Sa Larong Arnis
Translated as “A Body of Knowledge in the Sport of Arnis,” it was written in archaic Tagalog, and was the first widely released documentation on FMA. It was also the first publication to mention the word kali.; My friend Felipe “Bot” Jocano pointed out to me that it was not even Placido Yambao, but his editor, Buenaventura Mirafuente, who wrote the short section on the history of arnis, who actually made the controversial assertion that kali was the original name of arnis at the time the Spaniards came. Unless you are a Tagalog scholar and historian, do not bother to get a copy; instead, go to the next book by Reynaldo S. Galang.
“Classic Arnis: The Legacy of Placido Yambao” by Reynaldo S. Galang
Copyright 1992, Published by Arjee Enterprises, New Jersey, USA
Classic Arnis Reynaldo S. Galang is a senior instructor of Kali Ilustrisimo by Grandmaster Antonio “Tatang” Ilustrisimo, and is co-founder of Bakbakan International and its International Director based in New Jersey, USA. On a basic level, you can look at this book as a literal translation of Yambao’s book. For the benefit of Tagalog–speaking historians or practitioners, Rey retains the original name of the technique as a reference point. This book has over 500 pictures, many exclusive supplementary materials, and does deliver on its promises to unveil the secrets of Placido Yambao’s legacy.
“The Filipino Martial Arts” as taught by Dan Inosanto, compiled by Dan Inosanto, Gilbert L. Johnson and George Foon
Copyright 1980, Published by Know How Publishing Company, Los Angeles, CA, USA
The Filipino Martial Arts In addition to being a superb all-around martial artist, Dan Inosanto is also acknowledged as one of the leading authorities, a professor emeritus so to speak, of FMA history. This book, published in 1980, is considered the first book to give Americans a glimpse of the FMA, containing a biography of Dan Inosanto, a history of the Philippines, a list of FMA styles, pictures and short biographical sketches of FMA masters and other martial arts celebrities Dan trained, and an exposition of the Inosanto system. This book also contained controversial comments that have been the fodder of much discussion and debate among FMA practitioners in the U.S. and the Philippines, in print and in chat rooms.
“Masters of Arnis, Kali & Eskrima” and “The Secrets of Arnis” by Edgar Sulite
The Secrets of Arnis
The Secrets of Arnis
Copyright 1994, Socorro Publications, San Juan, Philippine
Edgar Sulite founded Lameco Eskrima and was a well-liked and talented eskrimador who unfortunately died too soon at the young age of thirty-nine. The first book was one of the ways he acknowledged the many masters of FMA who helped him become the superb eskrimador that he was. Some find his other book, “The Secrets of Arnis,” an even more interesting read than the “Masters” book. “The Secrets of Arnis” includes sections on improvised weapons (umbrella, key holder, tennis racquet), and on the use of the balisong. His instructor in the balisong was Master Nilo Limpin of Modern Arnis.
“Modern Arnis: Philippine Martial Art, Stick Fighting” by Remy Amador Presas, Founder of Modern Arnis
Copyright 1974, Published by Modern Arnis Publishing Co., Quiapo, Manila, Philippines
Modern Arnis
From the author’s collection.
This is a photograph of the
author’s actual book,
autographed inside by Prof. Remy Presas.
This is the original publication of Prof. Presas’s first book printed in the Philippines, considered the first English language arnis book, sometimes referred to as “the pink book” because of the background color of its cover. My copy, (serial #367) autographed by Remy during one of his seminars years after I bought it, is starting to get unglued.& Eventually, Remy produced a U.S. version (Copyright 1983, Ohara Publications, Santa Clarita, CA, USA), with the Los Angeles crew that I trained with in the late 70’s—Michael Replogle and Dan DiVito of Choi Martial Arts Institute. Yes, I have an autographed copy of this version as well.
Modern ArnisU.S. version of the “Modern
Arnis” book by Prof. Remy Presas.
“Filipino Martial Culture” and “Filipino Fighting Arts” by Mark V. Wiley
Copyright 1997, Published by Charles E. Tuttle Company, Rutland, Vermont, USA.
Filipino Martial Culture Mark V. Wiley was a senior student of the late Angel Cabales, and has written several well-received books in FMA in addition to the aforementioned books, including “Arnis” and “Filipino Martial Arts : Cabales Serrada Escrima,” Filipino Fighting Arts“Filipino Martial Culture” represents a serious scholarly attempt to examine FMA in the context of Philippine history and culture, including the Filipino warrior ideology, tribal lore, spiritual beliefs and unique weaponry. “Filipino Fighting Arts” picks up where “Filipino Martial Culture” left off and examines twenty five different fighting systems in the Philippines, examining their diversity as well as common bonds against the backdrop of Philippine history.
“Pananandata Arnis: Dalawang Yantok (Double Sticks Fighting)” by Amante P. Marinas
Copyright 1987, Published by Socorro Publications, San Juan, Philippines
Pananandata Arnis
From the author’s library. This book
is the Philippine edition, bought
during a trip to the Philippines.
Amante “Mat” P. Marinas, Sr. is the founder of the Pananandata system, one of the most well-respected senior FMA masters in the U.S., and one of the most prolific writers in FMA. The aforementioned book is part of a series of books printed in the Philippines, including “Yantok at Daga,”( Stick and Knife), “Knife Fighting,” and “Rope Fighting; Filipino Choking and Binding Techniques.”. Paladin Press publishes a similar series in the U.S. In addition to this series, Mat Marinas has more recent books on sport blowguns and knife throwing.
“Harimaw Buno” by Gat Puno Abon Baet
Harimaw Buno Gat Puno Abon “Garimot” Baet is the inheritor of his family system called Garimot Arnis from the province of Laguna, in Luzon, Philippines. In addition to the regular curriculum of FMA, he also teaches the rare art of Filipino wrestling called Harimaw Buno, as well as the healing arts, called Hilot. The book “Harimaw Buno” is the first book to document this art as learned and experienced by the author. Harimaw Buno employs standing throws, control locks, joint manipulation, striking and ground wrestling techniques. An interesting section includes some extremely strenuous training methods including mud training, canoe training, tamaraw (water buffalo) wrestling, log training and tree climbing. You have to read the book to learn what these unique drills are.
“Arnis: Filipino Art of Self Defense,” by Benjamin Luna Lema
Copyright 1989, Published by Integrated Publishing House, Metro Manila, Philippines
Filipino Art of Self Defense
From the author’s library. This book is
the Philippine edition, bought during a trip
to the Philippines.
This is one of the FMA books I bought during one of my trips to the Philippines, and I do not know if there is a U.S. version. Grandmaster Benjamin Luna Lema was the founder of Lightning Scientific Arnis, as the name implies, a fast, hard-hitting, effective system.& This is one of my favorite systems. Unfortunately, both “Mang Ben” and his senior student, Master Elmer Ybanez, passed away recently a year from each other. It will be a while before we hear from any inheritor of this system, so this book has a historical and sentimental value to me.
The Secrets of Kalis Ilustrisimo“The Secrets of Kalis Ilustrisimo” by Antonio Diego & Christopher Ricketts
Published by Tuttle Martial Arts
Antonio “Tony” Diego and Christopher “Topher” Ricketts are senior master students of Antonio “Tatang” Ilustrisimo, founder of Kalis Ilustrisimo. This book covers the history, structure, practice fundamentals, movements and applications, and training techniques of the system, with hundreds of photographs.
Eskrido
From the author’s collection.
“Eskrido” by Ciriaco “Cacoy” Canete
Published by Doce Pares Publication
Ciriaco “Cacoy” Canete is one of the living legends of FMA, a second generation grandmaster from the historical Doce Pares Eskrima Club of Cebu, Philippines. Recently I published a review of this book. It is a great technical, how-to book for anybody that wants to learn this art and incorporate it in their system.
Advanced Balisong Manual” by Jeff Imada, and “Balisong – The Lethal Art of Filipino Knife Fighting” by Sid Campbell, Gary Cagaanan, & Sonny Umpad.
There are numerous books out there that are basically manuals for a specific FMA system or style, written by the founder or inheritor, such as Ernesto Presas, Steven Dowd, and others . By all means, these are great references if you are a student or admirer of their style.
So whether you are an aspiring writer, martial arts historian, a serious student of the Filipino martial arts or just a book lover, consider this your starter list of books to include in your library.
Copyright, Jay de Leon, 2005
By Jay de Leon
Originally published in WorldBlackBelt, 2005
Remarkably, at this point in its history, the definitive book about Filipino Martial Arts (FMA) has yet to be written. What we have is a smattering of books that fall into two categories, books written by founders or inheritors of FMA systems about their system, or a compendium of existing systems and their grandmasters.
Spanish conquistadores and Filipino warriors
Historical meeting between
Spanish conquistadores and Filipino warriors
While these books are great historical and technical references, they give us no insight as to the cultural nuances, social values and historical background behind the formation of the FMA systems and the character and pathos of their founders. The history of FMA cannot be told without the rich panoply of Philippine history and the struggles and suffering, as well as the redemption and triumphs, of the Filipino people. It cannot be told without the backdrop of the Spanish colonization, World War II, the Japanese invasion and the American occupation, as well as the birth of Andres Bonifacio’s “Katipunan,” nascent nationalism, and the painful steps leading to national independence.
Philippine hero Andres Bonifacio,
founder of the Katipunan,
leads revolutionaries against Spain.
Ideally, writing such a tome would require the combined talents of noted Filipino authors like Quijano de Manila or Nick Joaquin, historians like Dr. Reynaldo Ileto and Dr. Marcelino Foronda, and FMA writers like Halford Jones, Reynaldo S. Galang, Steven Dowd or Amante “Mat” Marinas. Let’s hope somebody takes up the challenge.
While we are waiting for this masterpiece, I suggest building up your FMA library. Here is a list of books I recommend, including their authors, a brief description of the contents of the book, and the historical or technical relevance of the book. They range from rare, out of print books originally printed in the Philippines, to recent releases available at your local bookstore or online.
“Mga Karunungan sa Larong Arnis,” by Placido Yambao
Copyright 1957, University of the Philippines
Mga Karunungan sa Larong Arnis
Mga Karunungan Sa Larong Arnis
Translated as “A Body of Knowledge in the Sport of Arnis,” it was written in archaic Tagalog, and was the first widely released documentation on FMA. It was also the first publication to mention the word kali.; My friend Felipe “Bot” Jocano pointed out to me that it was not even Placido Yambao, but his editor, Buenaventura Mirafuente, who wrote the short section on the history of arnis, who actually made the controversial assertion that kali was the original name of arnis at the time the Spaniards came. Unless you are a Tagalog scholar and historian, do not bother to get a copy; instead, go to the next book by Reynaldo S. Galang.
“Classic Arnis: The Legacy of Placido Yambao” by Reynaldo S. Galang
Copyright 1992, Published by Arjee Enterprises, New Jersey, USA
Classic Arnis Reynaldo S. Galang is a senior instructor of Kali Ilustrisimo by Grandmaster Antonio “Tatang” Ilustrisimo, and is co-founder of Bakbakan International and its International Director based in New Jersey, USA. On a basic level, you can look at this book as a literal translation of Yambao’s book. For the benefit of Tagalog–speaking historians or practitioners, Rey retains the original name of the technique as a reference point. This book has over 500 pictures, many exclusive supplementary materials, and does deliver on its promises to unveil the secrets of Placido Yambao’s legacy.
“The Filipino Martial Arts” as taught by Dan Inosanto, compiled by Dan Inosanto, Gilbert L. Johnson and George Foon
Copyright 1980, Published by Know How Publishing Company, Los Angeles, CA, USA
The Filipino Martial Arts In addition to being a superb all-around martial artist, Dan Inosanto is also acknowledged as one of the leading authorities, a professor emeritus so to speak, of FMA history. This book, published in 1980, is considered the first book to give Americans a glimpse of the FMA, containing a biography of Dan Inosanto, a history of the Philippines, a list of FMA styles, pictures and short biographical sketches of FMA masters and other martial arts celebrities Dan trained, and an exposition of the Inosanto system. This book also contained controversial comments that have been the fodder of much discussion and debate among FMA practitioners in the U.S. and the Philippines, in print and in chat rooms.
“Masters of Arnis, Kali & Eskrima” and “The Secrets of Arnis” by Edgar Sulite
The Secrets of Arnis
The Secrets of Arnis
Copyright 1994, Socorro Publications, San Juan, Philippine
Edgar Sulite founded Lameco Eskrima and was a well-liked and talented eskrimador who unfortunately died too soon at the young age of thirty-nine. The first book was one of the ways he acknowledged the many masters of FMA who helped him become the superb eskrimador that he was. Some find his other book, “The Secrets of Arnis,” an even more interesting read than the “Masters” book. “The Secrets of Arnis” includes sections on improvised weapons (umbrella, key holder, tennis racquet), and on the use of the balisong. His instructor in the balisong was Master Nilo Limpin of Modern Arnis.
“Modern Arnis: Philippine Martial Art, Stick Fighting” by Remy Amador Presas, Founder of Modern Arnis
Copyright 1974, Published by Modern Arnis Publishing Co., Quiapo, Manila, Philippines
Modern Arnis
From the author’s collection.
This is a photograph of the
author’s actual book,
autographed inside by Prof. Remy Presas.
This is the original publication of Prof. Presas’s first book printed in the Philippines, considered the first English language arnis book, sometimes referred to as “the pink book” because of the background color of its cover. My copy, (serial #367) autographed by Remy during one of his seminars years after I bought it, is starting to get unglued.& Eventually, Remy produced a U.S. version (Copyright 1983, Ohara Publications, Santa Clarita, CA, USA), with the Los Angeles crew that I trained with in the late 70’s—Michael Replogle and Dan DiVito of Choi Martial Arts Institute. Yes, I have an autographed copy of this version as well.
Modern ArnisU.S. version of the “Modern
Arnis” book by Prof. Remy Presas.
“Filipino Martial Culture” and “Filipino Fighting Arts” by Mark V. Wiley
Copyright 1997, Published by Charles E. Tuttle Company, Rutland, Vermont, USA.
Filipino Martial Culture Mark V. Wiley was a senior student of the late Angel Cabales, and has written several well-received books in FMA in addition to the aforementioned books, including “Arnis” and “Filipino Martial Arts : Cabales Serrada Escrima,” Filipino Fighting Arts“Filipino Martial Culture” represents a serious scholarly attempt to examine FMA in the context of Philippine history and culture, including the Filipino warrior ideology, tribal lore, spiritual beliefs and unique weaponry. “Filipino Fighting Arts” picks up where “Filipino Martial Culture” left off and examines twenty five different fighting systems in the Philippines, examining their diversity as well as common bonds against the backdrop of Philippine history.
“Pananandata Arnis: Dalawang Yantok (Double Sticks Fighting)” by Amante P. Marinas
Copyright 1987, Published by Socorro Publications, San Juan, Philippines
Pananandata Arnis
From the author’s library. This book
is the Philippine edition, bought
during a trip to the Philippines.
Amante “Mat” P. Marinas, Sr. is the founder of the Pananandata system, one of the most well-respected senior FMA masters in the U.S., and one of the most prolific writers in FMA. The aforementioned book is part of a series of books printed in the Philippines, including “Yantok at Daga,”( Stick and Knife), “Knife Fighting,” and “Rope Fighting; Filipino Choking and Binding Techniques.”. Paladin Press publishes a similar series in the U.S. In addition to this series, Mat Marinas has more recent books on sport blowguns and knife throwing.
“Harimaw Buno” by Gat Puno Abon Baet
Harimaw Buno Gat Puno Abon “Garimot” Baet is the inheritor of his family system called Garimot Arnis from the province of Laguna, in Luzon, Philippines. In addition to the regular curriculum of FMA, he also teaches the rare art of Filipino wrestling called Harimaw Buno, as well as the healing arts, called Hilot. The book “Harimaw Buno” is the first book to document this art as learned and experienced by the author. Harimaw Buno employs standing throws, control locks, joint manipulation, striking and ground wrestling techniques. An interesting section includes some extremely strenuous training methods including mud training, canoe training, tamaraw (water buffalo) wrestling, log training and tree climbing. You have to read the book to learn what these unique drills are.
“Arnis: Filipino Art of Self Defense,” by Benjamin Luna Lema
Copyright 1989, Published by Integrated Publishing House, Metro Manila, Philippines
Filipino Art of Self Defense
From the author’s library. This book is
the Philippine edition, bought during a trip
to the Philippines.
This is one of the FMA books I bought during one of my trips to the Philippines, and I do not know if there is a U.S. version. Grandmaster Benjamin Luna Lema was the founder of Lightning Scientific Arnis, as the name implies, a fast, hard-hitting, effective system.& This is one of my favorite systems. Unfortunately, both “Mang Ben” and his senior student, Master Elmer Ybanez, passed away recently a year from each other. It will be a while before we hear from any inheritor of this system, so this book has a historical and sentimental value to me.
The Secrets of Kalis Ilustrisimo“The Secrets of Kalis Ilustrisimo” by Antonio Diego & Christopher Ricketts
Published by Tuttle Martial Arts
Antonio “Tony” Diego and Christopher “Topher” Ricketts are senior master students of Antonio “Tatang” Ilustrisimo, founder of Kalis Ilustrisimo. This book covers the history, structure, practice fundamentals, movements and applications, and training techniques of the system, with hundreds of photographs.
Eskrido
From the author’s collection.
“Eskrido” by Ciriaco “Cacoy” Canete
Published by Doce Pares Publication
Ciriaco “Cacoy” Canete is one of the living legends of FMA, a second generation grandmaster from the historical Doce Pares Eskrima Club of Cebu, Philippines. Recently I published a review of this book. It is a great technical, how-to book for anybody that wants to learn this art and incorporate it in their system.
Advanced Balisong Manual” by Jeff Imada, and “Balisong – The Lethal Art of Filipino Knife Fighting” by Sid Campbell, Gary Cagaanan, & Sonny Umpad.
There are numerous books out there that are basically manuals for a specific FMA system or style, written by the founder or inheritor, such as Ernesto Presas, Steven Dowd, and others . By all means, these are great references if you are a student or admirer of their style.
So whether you are an aspiring writer, martial arts historian, a serious student of the Filipino martial arts or just a book lover, consider this your starter list of books to include in your library.
Copyright, Jay de Leon, 2005
Tuesday, November 9, 2010
GUMPAL World War 2
http://www.west-point.org
GUMPAL
On my first inspection of my first platoon, two interesting things happened. But first, let me try to set the scene. All through West Point, cadets are exposed to a version of life in the Army which is a little unrealistic. They recognize that West Point isn’t terribly close to the rest of the Army. That’s easy. But the training films (we’re talking the 50s here) showed an Army that was supposed to be as real as possible. Thousands of times, every cadet imagined himself there doing the jobs portrayed. Then he graduated and, voila, found himself actually entering the platoon bay to inspect, just as he has imagined all those times. That first time is a magical experience.
During that first inspection I met Corporal Gumpal for the first time. Corporal Gumpal was a filippino and he spoke little English. Perhaps more accurately, he spoke little, and when he did speak, his English wasn’t very good. He was the best turned out soldier in the platoon, uniform perfect, boots shined to a mirror. But, as a corporal, he was supposed to be a leader, and he hardly spoke. I was unsure of how much he understood. I could see that he was going to be a challenge.
As soon as the inspection was over I asked the platoon sergeant, Sgt Haas, to tell me about Gumpal. He told me that Gumpal was a jewel, the best soldier int he platoon, but not much use as a fire team leader. Still, he was going to retire soon with 20 years service and we wanted him to retire at the rank of at least corporal. Otherwise he wouldn’t get very much money in retirement.
I talked to Gumpal the next day and suggested that we try to qualify him for promotion to sergeant so that he could have a semi-decent retirement. He told me not to be concerned. He was going home to the Philippines upon retirement and, with his corporal’s pension, would be the richest man in his village, anyway. I shouldn’t worry.
A few weeks later I was assigned to teach a class on World War II history. I was informed that the tradition in the company was to concentrate on the liberation of the Philippines and to use a particular film. I did as suggested and found, upon showing the film, that it was one I had seen many times. When I was a dependent "brat", we would often take films out from the film library and watch in fascination as World War II was played out before our eyes. This particular film was one which we had viewed on several occasions.
At the beginning of the film, General MacArthur pledges to return to the Philippines as he evacuates to safer territory. The island-hopping campaign is then reviewed and the relentless advance of our Armed Forces is shown. Finally, General Mac Arthur is shown wading ashore upon his promised return. He is welcomed ashore by the leader of the Philippine resistance forces in Manila, Lieutenant Gumpal. There is no doubt about it, it is our Corporal Gumpal, much younger, but our Gumpal. Much of the rest of the film is devoted to the continuing fight to retake the surrounding territory. You never see Gumpal in the film again and it exclusively portrays a battle between the Japanese and the US Army, rather than the Philippine resistance.
The soldiers in the company were fiercely proud of the hero who lived and toiled in their midst. To me it was somewhat sad. Here was this man who had been a genuine hero in his country fourteen years before. Now he was about to end his career in the United States Army as a low-ranking enlisted man. No matter that he would have a pension far greater than the salaries of any of the men of his village, I was embarrassed for him.
Unfortunately, my association with Corporal Gumpal was less than wonderful. He had trouble understanding and making himself understood. Nearly everytime I had a squad which failed to do what I wanted I could trace the difficulty to Corporal Gumpal. Often he simply didn’t tell his fire team what to do and it wandered about out of control. Still, I will always remember that courageous man who welcomed General MacArthur back to his homeland and delivered Manila to him as a welcome back present.
GUMPAL
On my first inspection of my first platoon, two interesting things happened. But first, let me try to set the scene. All through West Point, cadets are exposed to a version of life in the Army which is a little unrealistic. They recognize that West Point isn’t terribly close to the rest of the Army. That’s easy. But the training films (we’re talking the 50s here) showed an Army that was supposed to be as real as possible. Thousands of times, every cadet imagined himself there doing the jobs portrayed. Then he graduated and, voila, found himself actually entering the platoon bay to inspect, just as he has imagined all those times. That first time is a magical experience.
During that first inspection I met Corporal Gumpal for the first time. Corporal Gumpal was a filippino and he spoke little English. Perhaps more accurately, he spoke little, and when he did speak, his English wasn’t very good. He was the best turned out soldier in the platoon, uniform perfect, boots shined to a mirror. But, as a corporal, he was supposed to be a leader, and he hardly spoke. I was unsure of how much he understood. I could see that he was going to be a challenge.
As soon as the inspection was over I asked the platoon sergeant, Sgt Haas, to tell me about Gumpal. He told me that Gumpal was a jewel, the best soldier int he platoon, but not much use as a fire team leader. Still, he was going to retire soon with 20 years service and we wanted him to retire at the rank of at least corporal. Otherwise he wouldn’t get very much money in retirement.
I talked to Gumpal the next day and suggested that we try to qualify him for promotion to sergeant so that he could have a semi-decent retirement. He told me not to be concerned. He was going home to the Philippines upon retirement and, with his corporal’s pension, would be the richest man in his village, anyway. I shouldn’t worry.
A few weeks later I was assigned to teach a class on World War II history. I was informed that the tradition in the company was to concentrate on the liberation of the Philippines and to use a particular film. I did as suggested and found, upon showing the film, that it was one I had seen many times. When I was a dependent "brat", we would often take films out from the film library and watch in fascination as World War II was played out before our eyes. This particular film was one which we had viewed on several occasions.
At the beginning of the film, General MacArthur pledges to return to the Philippines as he evacuates to safer territory. The island-hopping campaign is then reviewed and the relentless advance of our Armed Forces is shown. Finally, General Mac Arthur is shown wading ashore upon his promised return. He is welcomed ashore by the leader of the Philippine resistance forces in Manila, Lieutenant Gumpal. There is no doubt about it, it is our Corporal Gumpal, much younger, but our Gumpal. Much of the rest of the film is devoted to the continuing fight to retake the surrounding territory. You never see Gumpal in the film again and it exclusively portrays a battle between the Japanese and the US Army, rather than the Philippine resistance.
The soldiers in the company were fiercely proud of the hero who lived and toiled in their midst. To me it was somewhat sad. Here was this man who had been a genuine hero in his country fourteen years before. Now he was about to end his career in the United States Army as a low-ranking enlisted man. No matter that he would have a pension far greater than the salaries of any of the men of his village, I was embarrassed for him.
Unfortunately, my association with Corporal Gumpal was less than wonderful. He had trouble understanding and making himself understood. Nearly everytime I had a squad which failed to do what I wanted I could trace the difficulty to Corporal Gumpal. Often he simply didn’t tell his fire team what to do and it wandered about out of control. Still, I will always remember that courageous man who welcomed General MacArthur back to his homeland and delivered Manila to him as a welcome back present.
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