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 Posted: Mon May 22, 2006 9:24 am Post subject: Frequently Asked Questions (FAQ) on the Filipino Martial Art |
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Frequently Asked Questions (FAQ) on the Filipino Martial Arts (FMA)
Version: 4.3f
Date: 14 May 2006
Written By : Bill Cox & Ray Terry
The Martial Arts Resource
This FAQ was created to be informative. There were no intentions for it
to be offensive to any style or person.
This FAQ is a compilation of information acquired over the years from
various sources, but it is FAR from complete. Any corrections or additions
that are submitted will be carefully considered. Send them to email address
MartialArtsResource -at- gmail -dot- com and include "FAQ INFO" in the subject heading.
To view the most recent version of this FAQ go to:
http://www.martialartsresource.com/anonftp/pub/eskrima/digests/fmafaq.htm
The Filipino words used in this FAQ are those used in specific styles. They may
be pronounced or spelled differently elsewhere. Keep in mind the words may not
be used in your style, ie don't bank on the words being 100% correct. They are
presented for your information only.
"Without honor there is no art, only pretenders in a brawl"
Mangisursuro Michael G. Inay
1944-2000
* NOTE: FMA = Filipino Martial Arts
**************************************************************************
**************************************************************************
====================================================
*
* TABLE OF CONTENTS
* =====================
*
* 1- Overview of the FMA
* 2 - Technical aspects of the FMA
* 3 - Structural aspects of the FMA
* 4 - Instructors & Styles
*
*APPENDIX
*
* A - FMA Books
* B - FMA Tapes
* C - Eskrima information via the Internet
* D - Interview with Cass Magda
* E - FMA Equipment/Weapon Suppliers
* F - Information about the Sudlud Training Organization.
* G - Some FMA (Pilipino) vocabulary
* H - Locating FMA instructors and/or schools
* I - List of those contributing to this FAQ
====================================================
*************************************************************
* 1.0 OVERVIEW OF THE FMA
*************************************************************
##### What are the differences between Arnis, Eskrima, and Kali ?
Basically, there is no difference. The general martial arts community uses
the different names to refer to the same art. Originally, the difference in
the name either implied the region from which the art originated or the
time period when the art was developed. These three names, and there are many
others, refer to Filipino Martial Arts where skills in both empty hand and
weapons are developed using similar, if not the same, training methods to
teach both. Practitioners of these arts are noted for their ability to fight
with weapons or empty hands interchangeably.
Eskrima and Arnis are the names primarily used in the Philippines today.
The name Kali is seldom used in the Philippines and in most cases is an unknown word.
##### The FMA are known as being weapon arts. What about empty hand skills ?
Most people think the FMA are stick fighting arts only. This is a common
misconception because the rattan sticks are one of the primary tools used
in training. They do use the sticks for combat, but that is not all there is to
the arts. The FMA are equally based in weapon skills and empty hand skills
(such as kicking, punching, trapping, and grappling). The FMA cover all
the fighting ranges, defending against armed and unarmed attacks with
whatever is available. What is available maybe the rattan sticks or it could
be other types of weapons or just the fighter's empty hand skills. The FMA
teach the interrelationship between empty hand skills and weapons.
Therefore the FMA should be considered a complete martial arts system
that develops many different types of skills for combat, not just simply a
stick fighting art.
Keep in mind that there are also other FMA that do not involve the use of
stick fighting as a training method. Dumog, Sikaran, and Panantukan are
examples of FMA that are based on empty hand skills only.
##### Why are the FMA considered simple arts (un-complex) ?
When the FMA are referred to in this manner they are discussing the
systematization, not the effectiveness of the arts. The FMA were designed
to be simple to learn. The arts were originally used to train fellow
villagers in a short period of time for combat against other villages and
foreign invaders. There was no time or reason to teach flashy techniques
nor techniques that required special abilities. Only the skills that were
proven effective and could be easily taught were used. The people who
were learning this art depended on its effectiveness and simplicity for
their survival. They were generally not martial artists or soldiers, just
villagers who had to defend their land. Some of these people had no
natural talent for fighting. They had to become proficient or perish in
battle. There was no time to teach a detailed and complex martial art if
the village was under immediate threat. Therefore, good generic methods
and solutions needed to be taught in the quickest time possible. This
philosophy of simplicity is still used today and is the underlying base of
the FMA.
##### Why is it often said that "more is not better" in the FMA ?
In keeping with the philosophy of simplicity, most of the techniques are
taught early in training. This is an important key to the FMA. The student
can pick what works for him and create his own method of combat. The
basic principles are more important than raw numbers of technique. The
difference between an older practitioner and a newer one is not the
knowledge of greater numbers of techniques, but rather the skill in
executing a smaller number of personally selected techniques. Each FMA
practitioner keeps a small core of basic techniques that can handle many
different types of situations. Keeping it simple is one of the underlying
principles of the FMA.
##### Why are the names of techniques so different ?
Each practitioner having personal variations on technique explains why
the FMA techniques have very generic descriptions to the names. The core of
the arts are the same, just the variations are different. This is especially
true when the FMA are compared to many of the Japanese martial arts.
Also take into account, that there are 7,107 islands in the Philippines.
Each has its own dialect and on many islands a different language from its
neighboring islands. One simple technique can have thousands of names and they
are all right.
##### Some of the basic principles of the FMA
* Only the skills that are proven effective and can be easily taught are used.
* Keep the overall strategy simple.
* Each FMA practitioner keeps a small core of basic techniques suited to him.
* Many theories for weapon and empty hand are interchangeable.
* Always keep the flow going.
* Use angles to minimize the opponents attack.
* Use center line off the angles to attack.
##### Are the FMA composite arts ?
Absolutely. If the idea is to use only what works, then new methods are
always considered. Some of the techniques are discovered independently, some
were taken from other sources.
Sources for other arts being incorporated into the FMA.
1) Peaceful culture trade - The Philippine Islands are strategically located
in the center of the trade routes. This creates opportunities to be exposed
to many different cultures and their martial arts.
2) Defense - The Filipinos had to defend against many foreign invaders and
also often fought between themselves. Techniques were developed to either
counter or duplicate combat skills of the enemy.
##### What are the characteristics of the FMA ?
The characteristics of the FMA vary from style to style. The spectrum
below indicate where the FMA stand in relation to other arts. These levels
of characteristic are general for each art. There is really no way to
specifically label each art other than in general terms. At one moment the
art may appear linear, but at another moment appear very much circular. I
have listed the general characteristic of each art.
SPECTRUM OF CHARACTERISTICS
Symbol | Martial Art | General Classification
-------------------------------------------------------------------------------
* | Filipino Martial Arts | linear, external, hard/soft
0 | Shotokan Karate | linear, external, hard
% | Tai Chi Chuan | circular, internal, soft
Circular[----------%---------------*---------------------------0------] Linear
Internal[--%--------------------------------------------*0------------] External
Soft [-%--------------------------*----------------------------0---] Hard
##### Why are triangles and circular or semi-circular moves common to the FMA ?
Triangles are an important symbol in the FMA. The triangle is one
of the strongest geometrical structures and is used in the FMA to
represent strength. Many schools incorporate the triangle into their
school's logo. The triangle is also used to describe many theories
in the FMA. Some of these theories are footwork, stances,
foundations of disarms, and theories of attack.
The circular aspect of the FMA can be easily seen in Kali Villabrille/
Largusa system, wherein they zone out of the attacking angle. However,
the most glaring example of the circular moves in FMA is in the empty
hand disarms or in their foot sweeps.
*************************************************************
* 2.0 TECHNICAL ASPECTS OF THE FMA
*************************************************************
##### What is the "live hand" ?
A VERY important concept in the FMA
The live hand is the opposite hand that does not contain the main
weapon. If you are right handed, it is your left hand. It is referred to as
being alive because it is used actively in combat for checking, blocking,
striking, and as support to the disarms and locks. In many of the
techniques, the alive hand is the major contributor to the success of the
technique.
"The live hand is the real weapon." - Dan Inosanto
Bantay-Kamay (The Live Hand)
The Bantay-Kamay (lit. guardian hand) is the secondary weapon in the FMA.
In a Solo Baston (single stick) situation, it is the empty hand, the Dagger
hand in Espada y Daga and the auxiliary/secondary baton in Double Baston.
Use of the Bantay-Kamay is developed during free-flow drills. The Bantay-Kamay
may take the following functions/actions:
1. Pigil (Jamming) - stopping a strike or attack
2. Paayon (Flowing - Go with the force) - redirecting a strike
3. Suntok-Tusok (Punch or Thrust) - a secondary attack during Solo Baston
or Multiple weapons drill/engagement. Also known as Sogo (Spearhand attack).
4. Dukot-Batok (Head Lock or Grab) - a grappling or throwing technique
during Solo Baston engagement. May also be executed in Multiple Weapons
environment by using the Punyo (butt or pommel).
5. Sampal-Kalawit (Palm Strike or Hook) - a palm-strike or hooking
technique leading to a take-down during Solo Baston engagement. May also be
executed in Multiple Weapons environment by using the blade portion (near
the hilt) of the stick or weapon.
6. Saplit (Centrifuge Disarm) - a complimentary technique leading to
disengagement or disarm of the opponent's weapon(s).
7. Concierto (Coordinated/Tandem Weapons/Hands) - a blind side or
inside technique that uses the Bantay-Kamay in coordination with the
primary weapon to execute a simultaneous counter-attack and control.
8. Hawak-Sunggab (Hold or Grab) - the restraint of the opponent's weapon
hand for the subsequent execution of a counter or a disarm.
There are many more variations and definitions regarding the use of the
Bantay-Kamay, but they can be classified under two general classifications:
1. Salisi - (Opposite Directions)
a. Salising Papasok aka Salisok
(Opposite Directions - Inwardi, aka Ops-in)
b. Salising Palabas aka Salibas
(Opposite Directions - Outward, aka Ops-out)
in addition the movements are classified as :
- Planchada (Horizontal)
- Aldabis or San Miguel (Diagonal)
- Bagsak or Bartikal (Vertical)
2. Concierto (Coordinated/Tandem Movement
a. Papasok (Inward)
b. Palabas (Outward.
These classifications are descriptive of the relationship of
the counter to the attacker's striking arm. If the attacker's arm or weapon
is pushed towards the attacker's body, it is classified as inward and
vice-versa.
##### What is the cane they are talking about ?
The FMA sometimes refer to the rattan stick used in training as a cane. The
standard cane is usually between 17" to 30" in length. Keep in mind that all
lengths of sticks are also used in training, from 4" to 6'.
##### What is sinawali, espada y daga, solo baston, crossada ?
These are descriptions of the methods of using weapons in combat
Sinawalli is the weaving pattern a practitioner uses when working with two
weapons. These patterns are commonly used as a drill to teach coordination of
both hands. When the player can perform sinawali well enough by themselves,
they move on to perform the drill with a partner. To do the drill with a
partner, the two players face each other a go through the drill symmetrically.
When this can be done well enough, the players throw variations and movement
into the drill. In the end, the drill becomes a type of sparring exercise.
Because of the way the players work together in these drills, sinawali is
sometimes referred to "give and take" drills in many of the FMA styles.
Below are descriptions of there sinawali drills. The first two are common to
most of the FMA.
+++++++++++++++++++++++++++++++++++++++++++++
+
+ rh = right hand
+ lh = left hand
+ sbs = snap back strike
+ fts = follow through strike
+
+ Ready chamber position.
+ Start with lh under right arm,
+ rh over right shoulder
+
+ Target levels can be any level.
+
+ Sample Numbering system
+ #1 - left head
+ #2 - right head
+ #8 - right knee
+ #9 - left knee
+
+++++++++++++++++++++++++++++++++++++++++++++
FOUR COUNT
1) rh to left temple (#1 fts strike)
lh weaves out during #1 to chamber over left shoulder
2) rh to strike to right knee (#8 sbs strike)
returns to chamber under left arm, back in ready but opposite side
3) - 4) Same as above but reversed.
SIX COUNT
1) rh to left temple (#1 fts strike)
returns to over left shoulder
2) lh to left temple (#2 fts strike)
returns to over left shoulder as #3 starts
3) rh to right temple (#2 sbs strike)
returns to under left arm, back in ready but opposite side
4) - 6) Same as above but reversed.
TEN COUNT
1) lh to left temple (#2 sbs strike)
returning lh to right shoulder as rh leaves for move #2
( ie left will be on top)
2) rh to left temple (#1 sbs strike)
returning rh to same position as lh leaves for move #3
3) lh to left temple (#2 sbs strike)
Same as #1 move but lh returns to chamber under right shoulder
4) rh to left temple (#1 fts strike)
rh returns to left shoulder
5) lh to left temple (#2 fts strike)
lh is returning to left shoulder chamber replacing the rh. The rh
will start to do a number #2 strike and is weaving in between the lh
coming to chamber and your head. The rh going to a #2 strike will start
move #6. At this point the sinawali is the same but reversed.
6) - 10) Same as above but reversed.
##### What is espada y daga ?
Espada y daga is the method of using a stick(sword) and dagger in
combination. The sinawalis can be considered espada y daga if all the
variations of sinawali weapons are considered. However, Espada y daga
generally refers to a more linear sword and dagger approach similar to that
used in European sword arts.
##### What is solo baston ?
Solo baston is the method using only one stick with empty hand strikes in
combat. Strong use of the alive hand is noted.
##### What is crossada ?
Crossada is Filipino for crossing. It is a the method where weapons or empty
hands are used in a crossing pattern for simultaneous offense and defense. It
is similar to other martial art's X Block, however it is not a static block.
It involves movement and angling to defend against the strike. There is a
slight trap at the moment of intersection at which time the attack is given.
This all happens in one movement. This is one of the primary ways the flow is
established during combat. It give the opponent no time to react because there
is no break during the defensive and offensive moves.
##### What are ranges of combat ?
There are many ranges to combat and each one of the FMA has its own
method of labeling and numbering them. Some styles can have as many as
16 ranges defining all types of combat. Below is an example of two. The
first is the four ranges which are commonly used to explain simple ranges
in relation to other martial arts. The second is an example of ranges for
stick vs. stick fighting. There are many different types of ranges in the
FMA. Each style uses different types to utilize the style's strengths and
explain its method.
TYPICAL EXAMPLE OF COMBAT RANGES
1) WEAPONS - No empty hand technique can hit therefore only weapons are used.
2) KICKING / PUNCHING - Typical range for Karate / Tae Kwon Do / Kung Fu.
3) TRAPPING - Trapping, close punching, elbows, head butts are used in this
range.
4) GRAPPLING - Typical Wrestling / Ju-Jitsu / Chin Na / Aikido
EXAMPLE OF WEAPON RANGES WITH STICKS
1) FAR - you can hit you opponent's hand with the end of your stick as he
strikes.
2) MEDIUM - you can now check your opponent's hand with your opposite hand.
3) CLOSE - you can now hit the opponent with the butt of your stick.
##### What are the 12 angles of attack ( also known as 12 strikes ) ?
The twelve strikes/angles are common to most FMA styles. They are the
basic strikes or direction of strikes covering all angles of attack. Most
styles use basically the same numbering system with slight variation. The
point is to learn how to dissect and classify the strikes and develop
methods of defense and offense using these 12 angles. At an advanced
level the student should learn the similarities of the these 12 angles and
further simplify classification and responses to their attacks. The first five
angles are common to many of the styles.
There is usually one set of numbers used for defensive angles and offensive
strikes. These numbers are based on attacks with the right hand only.
As an example ....
A backhand strike with the right hand would be a number two strike
coming in at angle #2 ( therefore 2 at 2 ).
If the same attack is done with the left hand the strike is still a
number two however it is at angle #1( therefore 2 at 1 ).
##### What is the flow ?
Obtaining the ability to flow in combat is the ultimate goal of a FMA
practitioner. A student of the FMA attempts to smoothly move between the
ranges of combat without any disturbance in the transition. This requires
skills in all four of the ranges ( with and without weapons) , the ability to
put motion and technique together continuously, and the sensitivity to fit
your technique to your opponent's. These attributes create a smoothness
in combat which is called the flow.
*************************************************************
* 3.0 STRUCTURAL ASPECTS OF THE FMA
*************************************************************
##### What type of structure is the class usually taught by ?
This is a matter of the instructors preferences, however most classes are
taught in an informal manner. This is especially true when compared to
some of the other more traditional Asia martial arts.
##### Do the FMA use a belt ranking system ?
The FMA until recently did not use a belt ranking system like other martial
arts. Belt rankings and instructor-ship rankings are now becoming more common
in many of the FMA styles.
The FMA are becoming more popular then ever. There are more students, styles,
and instructors. As such, the current trend is to systematize and organize FMA
schools in hopes of propagating the art and maintaining high standards within
the organizations. Ranking is becoming more common within some styles. Other
styles still maintain the philosophy of not using a ranking system.
##### What about uniforms ? Are they standard ?
Uniforms are not always used. There is no standard uniform like there is
in Karate or Judo. When uniforms are used, there are usually a
combination of karate uniform or sweat pants, a t-shirt, and sometimes a
traditional vest is worn. The style worn can even vary within a school or
system.
##### Why are shoes worn most of the time in training ?
Shoes are worn most of the time during training for two purposes.
1) To protect the feet from damage from projected or dropped sticks
2) To train in clothing that in worn in everyday life
##### Will I get a good work out practicing the FMA ?
That will depend on your instructor and style. Some instructors will work
students harder than other styles or instructors, some don't. Most of the
instructors practice the FMA as a second art. Therefore they rely on the
primary art for the hard workout and teach more skill development while
teaching FMA. One thing is certain, if the basic cane strikes are practiced
often and correctly then there will be a noticeable difference in forearm and
wrist strength. When selecting an instructor work-out intensity would be a good
question to ask.
*************************************************************
* 4.0 INSTRUCTORS AND STYLES
*************************************************************
I don't believe this section of the FAQ will ever come close to being
completed because of the quick and constant change in the FMA.
Any information that you may have would be appreciated. If you have
information send it to the aforementioned email address. Please research the
information as well as possible for accuracy.
The history of the FMA is hard to trace, especially when it comes to the
three W's ( Who did What When ). I have used information from books,
other instructors, and those people who were good enough to email
information about their style and instructor. Since the information on
instructors and styles is a mix of the information I collected from various
sources, I do not claim that it is 100% accurate. The instructors and styles
listed are responsible for the recent growth of the FMA. I have NOT listed
them in any arranged order of importance and as I said, the listing is not
yet complete. Most of this information was sent to me by students of the
listed instructor. I compile similar information, edit it, and organize it
for presentation. I do use complete sections sent to me if they are written
well and can be mixed into the presentation.
I hope this section will be more complete in future revisions. For now, please
accept it as uncompleted work.
Notes:
I don't know all the styles of the instructors. If there was no style to
list then the art may have been labeled either Arnis, Eskrima, or Kali.
Spelling - Eskrima is the same as Escrima. Eskrima is the older spelling.
Both are used throught this FAQ.
The styles/systems discussed are:
....
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full article link: http://www.martialartsresource.com/anonftp/pub/eskrima/digests/fmafaq.htm
source: MartialArtsResource.com |
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