Issue No #2 2011

The articles are the property of the author’s that wrote them and cannot be used without the permission of the au-thor. The Mataw-Guro Notebook is the property of the Mataw-Guro Association and is for the promulgation and promotion of the Filipino Martial Arts Education. NO issue can be printed and Sold for Monies, without the express permission of the Mataw-Guro Association.

The Basics + The Fundamentals + The Core = Structure & Essentials - Steven Dowd Types of Arnis de Mano (A Personal Observation and Experience) - Emmanuel Querubin The Manure Factor - Andy Sanano Building Blocks of FMA - Marc Lawrence ‘Arnis’ Workshop Begins February - Philippine Newspaper Arnis Alliance Forms Between Sen. Zubiri and Mataw Guro Group - Perry Gil S. Mallari The Basics of Kalis Ilustrisimo System “As I was Taught” - Peachie Baron Saguin Coordination of Mind & Body

The Basics + The Fundamentals + The Core =Structure & Essentials of the Filipino Martial Arts

By Steven Dowd

What are the basics, fundamentals, or the core of Filipino martial arts? Well to my understanding basics are the beginning, pertaining to, or forming a base, an essential ingredient, principle, procedure, etc… Fundamentals are serving as, or being an essential part of, a foundation or basis, a basic principle, rule, law, or the like, that serves as the groundwork of a system. And a core is the central, innermost, or most essential part of anything. How, is it all explained when teaching? For each person has their way of explaining things when they teach, a personal attitude, technique in demonstrating etc... So when I hear about basic strikes are 3 strikes, or 5 strikes, 7 strikes or 12 strikes or how to ex-ecute a block properly, or which way the body should move and people argue about it. I just shake my head and laugh. They are all basics, so in my belief the basics and fundamentals when properly explained all come out to be the same the core of the Filipino martial arts. Now the Mataw-Guro Association teaches the basics of the Filipino martial arts. What are the basics of the Filipino martial arts? Is it 3 strikes, or 5 strikes, 7 strikes or 12 strikes is it the way one blocks? In empty hand is it an inward, outward, downward, and upper block? Are the blocks circular or angular? In the body movement in stances are they triangular, angled, circular, or horizontal / verti-cal? In the execution of leg movements for kicking and sweeping what is the concept for balance, power and speed? All are basics to all the Filipino martial arts. It is the way they are explained, taught and the principles in the execution and philosophies that make them different All Filipino martial arts are great in their own respect. What makes each art better than the other? Nothing really, it is what the receiver (student / practitioner) perceives and what their body adapts and coordinates to and what in their mind; is the best art for them personally. What is the Mataw-Guro Association trying to do? It is attempting to bring together the Filipino martial arts practitioners which realize and wants to teach the basics, fundamentals, the core of the Fili-pino martial arts so the student will understand the structure and essentials and then be able to move on with this knowledge to a style which will fully benefit them and they will adapt and excel in, becoming the best they can be. What is rank? It is not an elected position in the Filipino martial arts, it is an established position of knowledge in which the practitioner has trained towards and achieved, unless it has been given due to the senior practitioner wanting money over skillfulness which unfortunately happens. The Mataw-Guro Association has no ranking all are believed to be equal in their goals to teach the basics of the Filipino martial arts. Of course there are the Founders who had the dream of establishing such an Association, and Officers of the Association which are appointed, to bring about organizational value, and to represent and guide the Association in the goal it was established for.

Types of Arnis de Mano (A Personal Observation and Experience) By: Emmanuel Querubin

Presently, there are typically two classifications of Arnis de Mano, the contemporary, and the classical. The contemporary may be sub-classified, as “Combat Arnis” and “Sport Arnis.” On the other hand, the classical may be sub-divided, into “Traditional” (sometimes also referred to by others as cultural) and the “Esoteric.” Whatever the classification they are all bound together by three common aspects: part art, part science, and part sports. With the advent of the Mataw-guro Association, it is hoped that now they will also be bound as Filipino Martial Arts Education. However, the priority and purpose of training can still differentiate each classification. There are schools of Arnis de Mano, which concentrate in teaching the art mainly as a means of defense and as a combative art, such as in police agencies and the military. The emphasis of their training is in the combat aspects of Arnis. These schools do not engage much in “scoring points” and winning tro-phies or medals. To them, Arnis de Mano is 100% strategy of neutralizing the opponent in an exponential rate to counteract and eliminate the threat. Then there are schools, the priority of which is to broaden their base of following and income, by winning trophies and medals in competitions. These schools may be classified as the Sports Arnis Schools. To these schools, the gauge of whether the school is good or not, is by the number of tournaments they win. To them, Arnis de Mano is 100% “scoring points” and garnering as many trophies and medals as they can. Understandably, these are normally commercial schools. “Sports Arnis” is an attempt to keep alive the “live blade” encounters of yesteryears. However, because these confrontations, are against the law and against survival instincts, padded sticks and protective gear have taken the place of live blades in an “all-out survival of the fittest” contests. Although the techniques and strategies may be the same as contemporary Arnis, the ideals of classi-cal Arnis de Mano are entirely different. The “traditional” Arnis de Mano is part art, part science, and part sports. As an art, Arnis de Mano is a dance form that is uniquely Filipino. Watching a skilled arnisador perform the techniques of abecedario and other strategies accompanied by music is like watching birds in formation while in flight. The graceful transition from one motion to another is both natural and energetic. Style and form in traditional Arnis de Mano, is just as important as speed and power, perhaps even more. The laws of physics and motion must govern every movement to achieve style and form. During Arnis gatherings and events, practitioner of traditional Arnis will demonstrate their art, rather than compete in tournaments. To them displaying the grace and beauty of Arnis is like displaying the beauty of a painting or architecture. To them beauty in the execution of a strategy, is more of a sports than trying to knock the @#$%&* of the other guy. The least talked-about type of Arnis de Mano is the “Esoteric” type. This type is also governed by the three aspects of art, science, and sport, but with the added aspect of “spiritualism.” In the olden days, “Esoteric Arnis” with all the combative aspects was probably the most commonly practiced. Before the coming of the Spaniards, the country, that is now the Philippines, was a nature-wor-shipping pagan country. Every family has its own talisman or charm (anting-anting or agimat), which avert evil and bring good fortune, magical and miraculous powers. The anting-anting or agimat came in different forms, shapes, and size. The oracion (incantations) also came in different languages or sounds.

With the Christianization of the Philippines, the culture, beliefs, and the agimat took on a different character. The most common agimat or anting-anting came in the form of the crucifix, the rosary, or the scapular. Spanish and Latin became the most common incantation or oracion. Arnisadors do not go to a possible confrontation without their agimat and their oracion. In fact, they do not step out of their homes without uttering some magical words or rubbing their agimat. The Filipinos slowly transitioned their pagan practices to Christian practices as they were converted, and started basing their anting-anting and oracion more on their newfound religion. The prayers in Latin or Spanish of “Our Father,” “Hail Mary” and “Glory Be,” became the most common oracion. The crucifix or the scapular of the Virgin Mary, hang-ing on the neck, became the most common anting-anting. However, there were still those who hanged on to the old tradition and have not “Christianized” their anting-anting and oracion. Most of these were the manggamot (healers), arbularyo (herbalist) and the hilot (bonesetter). In addition, those who practice the “healing” arts are adept in the “killing” arts. Could have this been a Chinese influence? In China, before learning the “killing” arts, one must train in the “healing” arts. In the 1950’s, while vacationing in my mom’s province of Bauan, Batangas, I heard that it was time for my Lolo Andres, the local manggamot to fight the “spirit warriors,” to restore the vitality of his healing powers and his fighting skill. Lolo Andres did this every Good Friday midnight, in a “secret” place hidden from view and away from prying eyes. As a child, he was initiated in the mysteries of the esoteric and had done this ritual since then without fail. When his father passed away, it was rumored his father passed on to him his anting-anting. Following the example of his late father, he became the barrio mang-gamot (healer). Another trade he inherited from his father was selling mosquito nets and mats, where he learned and became an expert in the use of the tungkli or pingga, a 4 to 6 foot flat-pole made of bahi (ironwood). On the night of the ritual, I sneaked out of the house to follow Lolo Andres, without telling any-body. I hid behind a tree from a distance, and watch Lolo Andres performed some ceremonials. Lolo Andres all of a sudden started swinging his tungkli against what may have been an opponent, but whom I cannot see. The “fight” against the “spirit warrior” went on for minutes then hours. I strained to see if he really has an opponent, but all I can see was Lolo Andres in the dim light of the moon. Finally, after several hours, at the break of dawn, Lolo Andres started for home. As he passed me half-crouched next to the tree half awake and half asleep, all he said was “kaya pala” (no wonder). When I got home, my aunts and uncles scolded me and said what I did was very dangerous for me and for Lolo Andres. They said that Lolo Andres had a very hard time because he was “carrying me on his shoulders.” They also said that the “spirit warriors” could have killed Lolo Andres or me. However, I was not afraid. I had my own anting-anting crucifix hanging on my neck and I have recited my oracion. I was even boasting to myself that my God was stronger and more powerful, than all the “spirit war-riors,” which I cannot see. Lolo Andres after that incident refused to teach me anymore except the first technique he taught me and since then he has not spoken to me until he passed away. Lolo Andres supposedly passed his anting- anting to his son, but his son never became a successful healer

Jimmy Galez, a member of the Council of Administrators, Philip-pine Karate Association.

because he indulged too much in alcohol and died at an early age, not amounting to anything like his late father. In the early 1960’s, I met Jimmy Galez, for the first time. His demeanor and mannerisms sug-gested that he is a practitioner of “Esoteric Arnis.” Having learned my lesson with the incident with Lolo Andres I was cautious with my dealings with Jimmy Galez. One time, I attended a martial arts tournament in Baguio City, where Jimmy Galez was also a guest. Jimmy demonstrated his brand of Arnis. With flowing long hair, facial hair and an ornate gown-like cassock, his moves reminded me of Lolo Andres when he was supposed to be fighting “spirit Warriors.” During the break, Jimmy and I had a friendly conversation. He confided that he is indeed an “initiated member of Esoteric Arnis” and in fact has just came back from his mountain training to energize and revitalize not only his skill but also his agimat. When I told him that most in the martial arts circle considered him too eccentric, and was not considered a serious martial artist, he just smiled. When he asked me what I think of him, I just smiled in return. Interestingly, those who did not consider Jimmy Galez a serious martial artist avoid crossing his path. A serious martial artist or not, Jimmy Galez is a well-trained and highly skilled confident but humble individual. The height of the mistrust in anting-anting and “Esoteric Arnis,” came in the mid 1960’s when the Lapiang Malaya, headed by Valentin delos Santos, was massacred by the military and police who re-sponded to suppress their “uprising.” Armed only with bolos and their anting-anting, the Lapiang Malaya was no match against M16’s and 45 caliber bullets. After this incident, the belief in anting-anting and oracion, although still practiced, became less vocal, Practitioners of “Esoteric Arnis” for fear of being ostracized shied away. In 1967-1968, I was commissioned to be the Head Foreign Instructor of the Karate Association of Malaysia. During a Chinese Festival I watched a group doing what they call “Spirit Kung Fu,” Bystanders who were supposed to be ignorant in Kung Fu all of a sudden will fall into a trance and be transformed into Kung Fu masters when “Spirit Warriors” possess their body. They start doing Kung Fu exercises and maneuvers for hours. Then as sudden as their transformation into Kung Fu Masters, they will return to normal “without any memory of their experience.” While watching them, I was reminded of Lolo Andres and Jimmy Galez. I went back to our gym with doubts about what I just witnessed. I wanted to dismiss it as a fake ritual. However, that same day I also watched fire walking where devotees carried about 100 pounds of icons of their gods supported by stakes that penetrate their bodies. It took these devotees more than 10 minutes to traverse the over 20 feet long burning coal and rocks while dancing and chanting their “secret prayers.” I examined the feet and body of these devotees after the ritual but none of them even showed traces of being burned, injured or even discomfort. Although there were marks of the stakes, there was no wound or blood. Then I remembered some devotees in the Philippines, who are “crucified” on Good Friday, as a form of penance. To this day, I have kept an open mind about things that I cannot explain and it has helped me, in the martial arts and in life in general. In the early 1970’s, I met a promising young Karate practitio-ner from Negros Oriental, named Inocencio Glaraga. While giving a seminar, Glaraga tried to pick Louelle Lledo and my brain. Louelle and

I called him “eager beaver” because he will not leave us alone. He tagged along wherever we went, volun-teering himself as our guide in exchange for lessons. His perseverance paid off, when he won the regional tournament. He was selected to represent the region during the First Philippines International Karate Championships. When he did not make it to the national team, that will represent the Philippines in the Third World Karate Championships, Glaraga set aside his Karate training and concentrated in Arnis de Mano, moving from one province to another, in search of more knowledge. He came under the tutelage of several Arnis teachers. He became “initiated in Esoteric Arnis,” and learned to distinguish the “Esoteric” masters from the “non-Esoteric” masters. As his involvement with the masters of “Esoteric Arnis” went deeper and deeper, his “conversion to eccentricity” also went deeper and deeper. He started wearing clothing that was out of the ordinary. He wore beads and necklaces, which were “blessed” to insure his safety. He uttered oraciones in language that only he can understand. Once a year he will go up in the mountains by himself, hike for miles and fast for days. He claims this ritual energizes and invigorates him. Without even food or water, he tries to live off nature. He has not cut his hair for years. He talked about books and writings that only the “initiated” can understand. In the 1980’s, Ciok (as he became known), joined Louelle Lledo who was teaching at the NBI Training Academy. They trained together and developed the Amara rapillon and other Amara maneuvers and techniques, which was supposed to have come from the “Book of Amara-tan,” or the book of the “root knowledge.” The swooshing of Ciok’s sticks earned him the nickname “Singing Sticks of Ciok.”Like Jimmy Galez, Ciok was not taken seriously in the martial arts circle. However, nobody can deny that Ciok is a walking encyclopedia of Arnis knowledge. The 1980’s marked the proliferation of Arnis schools and systems and titles of all sort. Louelle and Ciok toyed with the idea of unification under one umbrella organization (like the Philippine Karate Association) and standardization of techniques as Filipino Martial Arts Education. They even coined the term Mataw-guro from mataas ang tanaw na guro (teacher of high standard). However, it remained just an idea, for almost 30 years. Finally in 2010, the Mataw-guro Association was formed. Two organizational meetings were held to solidify the association, one was held in Quezon City, Philippines and another in New Jersey, USA. On October 3, 2010, the charter was officially signed and submitted for registration, with the Securities and Exchange Commission and the Intellectual Properties Office. With standardization and unification in their program, will the Mataw-guro Association herald the demise of “Esoteric Arnis?”

Note: With the demise of “Esoteric Arnis” looming in the horizon, Ciok Glaraga withdrew his member-ship in the Mataw-guro Association.

By Mataw-GuroMarc Lawrence

What makes up the basics of Filipino martial arts known as Eskrima, Arnis or Kali? This is a complete fighting art with the primary focus being on the weapons and the defense against them. The ba-sics are made up of simple mechanical principles, good body mechanics and the economy of motion. In order to be a good Filipino martial arts fighter, a student must have good basics. This is a fact as with a good foundation a house is strong so is a fighter with a good foundation. The fighting system was originally used to train fellow villagers in a short period of time for combat against other island villages and foreign invaders. The typical time available between rainy time was just a matter months. There was no time or reason to teach flashy techniques or train only those with special abilities. The people had to become proficient quickly or perish in battle. The traditional arts are known as Kali, Eskrima or Arnis, stick, knife and hand to hand fighting which was developed over a period of many centuries in the Philippines as her people fought for their in-dependence from foreign invaders. Each skirmish with a new culture added to the Filipino martial arts as the warriors developed techniques to combat foreign styles. Subsequently, more than 100 different Filipino martial arts styles developed, which can be grouped into three complete self-defense systems which utilize sticks, swords, and empty hands. It is the original mixed martial art that was based upon simple, non-flashy battle tested meth-ods of fighting. They were designed to use natural efficient motions and exploited the weaknesses of their opponent’s body. A complete Filipino martial arts system being taught to students contained certain basic things. First you learn to use a rattan stick, it is known as the poor man’s weapon and punching bag. The real purpose of the stick is used to teach your body how to move for attacking, defending, counter attacking, grappling and throwing. The next step is when you learn to use and defend against blades, like a bolo or knife, and then last but not least you learn to use your hands and feet like the stick and the knife. Within a complete system you will find it has hand to hand, hand and foot fighting as well as wrestling methods. Each body is different so just because you cannot do the technique just like another guy’s does not make it wrong. Filipino martial arts, is about finding your own way! Put together your own tool box of good techniques. Have anyone teaching you explain the concepts behind their method or combination. The Filipino fighting arts are just as good today as they were in the past.

Used with permission of the FMAdigest.

Mataw-Guro Lawrence wrote the col-umn ‘Building Blocks of the FMA. In the column he explained his perception of the basics of the Filipino martial arts. No style was in mind, just the basics

The Manure Factor The Mataw Guro Association (MGA) is new and still forming. The purpose (or Mission) of the MGA is one which serves the best interests of those who truly appreciate and respect the benefits of learn-ing the skills and traditions of the Filipino Martial Arts (FMA). The efforts of the MGA also serve to enhance the image of Filipino culture and people in general. The Mission is solid and completely positive In the formation of any new organization, especially among those of us who have suffered the abuse of those more forceful (colonial powers), we often find that we do not trust each other. With that mistrust there will often come efforts to discredit the new organization, even when it has everyone’s best interests at heart. Negative gossip from so called “reliable sources” is expected to circulate like the spreading of ma-nure over the fields. As much as that manure will stink, it will serve to fertilize the Earth and help the new plants to grow and prosper. The MGA, as a new plant, will also grow and prosper even with the aid of those who misunderstand, misrepresent and fear our Mission. Out of their fear comes the negativity spread like fertilizer. The result will help in the growth of the MGA and its Mission of FMA Education. When MGA members hear or read any negative thoughts regarding the MGA it will be tempting to react negatively in return. It might seem necessary to pick up the struggle against those who present nega-tive attitudes and disrespect our efforts. The Sanano Martial Arts System teaches us to “Learn to fight, not to fight.” Part of the meaning of this helps us now. When the person is offered an invitation to fight from one who has such a negative attitude, it is so easy to be pulled in to that negative attitude and to fight. Fighting always harms someone. Revenge and conflict always invite more of the same. Instead, let me look within myself to find my own conflict. Then, I can work it out inside and have no need to fight the other. Maybe most violence and negative reactions can actually be prevented. The FMA and MGA are here for us to help each other, not bring more conflict and harm.

Salamat Po! Mataw Guro Andy Sanano International Coordinator

Stances & Body Positions The fighting systems known as Arnis, Eskrima or Kali are based on the triangle principle. The ranges of striking are based on triangles. The foot work, blocking, striking and empty hands are all based on triangles. The center of the body is also based on triangles for good fighting balance. To build a strong house you must have good foundation. Footwork is critical to all fighting systems; good foot work equals good body mechanics. Good body mechanics equals a good foundation. As fighter you must understand this or you will not be able to be successful. In three main types of FFA the fighting stances is basically the same. The typical stance is with your weapon hand forward and your live /empty hand/ dagger hand is back. Your elbows being the base the triangle with your stick leading make the one side and your hand reinforcing make the last side. If you are right handed then you will have your right hand-weapon hand is forward and your right foot forward. Your left foot is facing forward about shoulder width apart from your right foot. This allows you to use natural motion and run at someone while attacking. Do not use an L-stance, it will not allow you to move forward quickly! Your knees are slightly bent with your feet planted flat on the ground, when blocking. In Arnis, Eskrima or Kali there are stances but better term should be body positions. You are not rooted in any one position for any real length of time. While you are fighting you use these body positions at different times. This is tied directly to your foot work. You have a natural stance this allows your switch to left or right stance/position quickly. Your primary stance is a basic forward stance. I will list the stance/body positions as follows:

1. Natural stance 2. Forward stance 3. Deep forward 4. Deep forward diagonal stance 5. Forward diagonal stance - right 6. Forward diagonal stance - left 7. Side diagonal stance- right 8. Side diagonal stance - left 9. Rearward diagonal stance - right 10. Rearward diagonal stance - left 11. Rearward diagonal stance 12. Cat stance 13. Hook stance and reverse 14. Attention stance You should practice these by putting some tape on the mat to make a plus on ground or if outside use sidewalk chalk from the 99 cents store. If you are really broke or you are serious old school, use charcoal on the concrete or just draw with stick in the dirt. Once you have marked this, start with the first position and practice each one in your own order and flow through like you are learning dance steps. Next overlay a six pointed star sign; this will guide you for the diagonal stances.

Grips and Sticks In order to strike with a stick or a blade you must grip the weapon. The most natural grip is an overlapping grip. It is the basic to deliver a power strike. It is one of four basic grips used in Filipino martial arts. The other three grips are straight thumb, side thumb and reverse grip. Each one of these has their special time and application in fighting in the Filipino martial arts. As previously stated the overlapping thumb is a natural grip used for delivering a power strike, but if done incorrectly you will disarm yourself when hitting, this is typically done when the ring finger and pinky finger is loose when striking. The straight thumb grip has two basic applications, first is for deliv-ering a quick forehand snapping strike with the wrist. This allows for the wrist to move quicker but can lead to an easy disarm if stop blocked and pulled. The second application is done when fighting in Espada Y Daga when holding the knife, this allows you to trap and control a limb with the knife hand. The side thumb is used to apply side or downward pressure with stick or knife. This allows your hand to brace the weapon while pushing down and not disarming yourself. This method is use typically in Espada Y Daga with the knife and knife hand when checking and jamming. All sticks and blades have four parts to them, first is the tip portion, second is the blade portion, third is the handle portion and fourth in the butt or end portion. Each portion has its own special applica-tion when fighting. That will be discussed in future column on strikes. To correctly select the size of stick is very important to prevent many problems with your arm! The proper diameter for a Filipino martial arts player is measured by the following: Making a ring with your thumb on top and the forefinger under-neath, from the quick-line on thumb to the quick-line on the (index) forefinger. If your stick is too large or too small you can develop golf elbow or tennis elbow as the commonly know or just known as Eskrima Elbow! The correct size and weight will prevent this! The length of stick has created many discussions and passionate arguments by many Filipino mar-tial arts Guros, Masters, Grandmasters and players. Depending upon where the school plays, practices and the system originated from will dictate the length of the weapon. If you train in an urban environment and have to fight in tight quarters like on Jeep née then you would favor a short stick. If you had to fight in an open area or against weapons with long reach, you would favor a long stick. If you had to work around a waterfront, beach or on a boat or ship you would favor medium length weapon. Stick lengths I seen start with a 42 inch used two handed by Modified Tapido made of coffee wood. I have seen 36 inch

Once you can do this stationary practice this moving slowly forward, moving backward and side to side. While practic-ing the stances 2-13 do your forehand, back hand thrusting strikes. Then practice the stances 2-12 while you are practicing your blocks. You will find that each body position has a time and place that it is effective.

used by members of San Miguel, 29 inch by Doce Pares, 28 inch by most systems, 24 inch Arnis Balite and 21 inch by Serrada Eskrima as well. A family member, Manong Espi used to tell me that the disad-vantage of a shorter stick under 36 inches was that if you are playing with punch and kick you could be punched by your opponent while stick fighting. The two most common measurements for the correct stick length are done as follows: First is with the stick in the armpit arm extended sideways and the fingers extend the stick reach the tip of the long finger. The second is with the stick in the armpit arm extended sideways and the wrist and palm is bent over and the tip touches the palm. Sticks for practice should be made of material that absorbs shock but retains its strength and shape. The best natural material is Rattan. Yes, there are 600 varieties known and 10 types are typically used in manufacturing natural products. Rattan for sticks can be grown under oil palms in palms groves mak-ing better use of the land. Rattan is member of the Palm Family and it will give way and absorb much of the shock of an impact. Harder woods will not do this and can cause joint injuries due to the shock being transmitted back into the joints. Also if you chose to bag or repeatedly strike hard surfaces with Rattan the same thing will happen to your joints. That means do hit hard wood trees! This happen to friend of mine, he had bone bruises and could not fight in major tournament! The Rattan should be properly cured and be of the correct age. When looking at a typical rattan stick avoid sticks made with very soft rattan (young or cheap variety), very dry rattan (old or improperly cured), and only one- two joint Rattan. One and two joint Rattan is very immature and soft. There is nothing worse than getting a new stick hitting the tire bag and it busts off, or even worse when sparring! My personal favorite is four - five joint, salt water cured, fire-harden oil- finished Rattan stick. Yes, these are very difficult to find so I make my own. There are many good companies that make good rattan sticks in the Philippines and you can select your own favorite finish and design. Yes, there are now synthetic plastic and composite sticks for those who like their feel.

Mechanics of StrikingIdeally, you’d use the smallest possible surface (edge of the end of the stick) at the maximum leverage (end of the stick) for the briefest possible time (deliver multiple hits). When using a blunt trauma weapon you aim for bony targets like collar bone, elbow, wrist, elbow, knee, eye socket, etc. The same principles are in play with edged weapons, except the edge just is the smallest possible sur-face, you need leverage plus a certain amount of edge to pull or push through and down into the target, and the targets include arteries and organs. The thought process is simple which is this’ wipe the stick across the body’ during the strike. Strikes are done in a full beat, half beat, and quarter beat method, much like music. What I am saying is there are full swing strikes very long and powerful, there are half swing strikes that are come from the hips that are very powerful and there are quarter beat strikes that done in a whipping motion that are very powerful as well. When you watch Manny Pacquiao you will see him do all of these types of strikes with his fists. When applied correctly it sounds like rocks hitting a focus pad.

Strikes - Strikes are broken into three basic groups based upon the direction of travel of the strike. These are forehand, backhand and thrust strikes. It does not matter if the strike is linear, curving or reversed it still three basic ones. All strikes generate the most power through proper body mechanics. Power is gener-

ated in the feet properly spaced through feet/leg rotation and is transferred to the hips and into the shoul-ders, and finally into the arms. The wrist proves the snapping motion. The weapon hand gives direction and targeting to the strike. The energy is generated by rotating your body and stick together. This works for all linear strikes in the largo, and media ranges. This will not work for your curving strikes power generation. Curving strikes power is generated in by the rotation of the arm and wrist, a quick snapping motion. You start with the butt up and tip down to snap the shot in quickly. Remember sky to ground, always strikes from sky to ground or upwards strikes ground to sky. Your knuckles serve as the blade edge reference to the strike with stick. Strikes are done with three parts of the stick: tip, blade and butt. The strikes are done with different parts of the stick. The tip of the stick is used for linear sticks. The last three inches are use in certain curving shots like Arcos and Circulos. Witiks and Pitiks are done with the tip. Thrusts are done with the tip. Blade strikes are done with the blade portion in slicing mo-tion. Butt or Punya strikes are done with the butt end in quick jabbing motion, hooking motion or done in hammering motion. When you are fighting in Korto range the tip is used in hammering motion, but you must shorten the length of your grip on the stick Use a hammering motion like you would to drive a 16 penny nail with framing hammer. For the most transference of energy, the tip strike is most effective. How you strike is adjust ac-cording to the range you are fighting. Your range of motion is shortened as you get closer to your opponent. Remember to attack the fangs of the snake first! Go for the hands then the knees.

Re-angling strikes - The Abaniko or fan strike in done two basic methods-Traditional and Modern. Tradi-tional is wide striking pattern of 360 degrees of arc, to be really effective you must have total body me-chanics for the rotation of your body when tip striking with your stick. Modern is a short quick strike done with just the wrist and a forearm in quick rapid manner. This is usually done to the face mask of your opponent with quick follow up power shot to the body. Ricochet strikes are true re-angle strike done from bouncing the stick off the floor and quickly into an on-coming opponent, or off your opponents stick and into your opponent’s face mask.

Curving Strikes - The curving strikes group basically consists of Pitiks, Witiks, Circulos, Arcos and side winders. A Pitik is done in flicking motion of the wrist by the weapon hand, it is tip strike. This strike is usually done to distract but can be extremely effective when done to sensitive areas like the breast. A Wi-tik is done with a wrist snapping motion like you would do with a wet towel. There are inside Witiks and outside Witiks, inside done in a forehand motion and an outside are done in a backhand motion with wrist. A Circulo strike is done with the wrist and forearm in a circular motion. For maximum effectiveness you start with you forearm with the butt of the stick straight up and the tip is brought forward in clock wise motion rapidly. You follow all the way through on this strike. An Arco in just two Circulos are done one right after another. Twirling strikes are best to keep crowds back. These are effective for multiple oppo-nents when using edge weapons. Sidewinders are done similar to a Circulo except that it goes opposite side from where the strike originated from. You start with the butt up striking curving manner hitting first the spot where you first hit in combination. A Sidewinder is usually the third strike of the combination.

Songkiti - The thrusting motion generates energy through two methods a straight lunge thrust and curving re-angle motion known as Songkiti. This is used to target soft areas of the body like the eyes, throat, solar plexus and groin. A properly done Songkiti can put the diaphragm into spasm in one motion.

Punya - A Punya done to the same areas in close quarters fighting (Korto) can do equal damage when done with force. Just quick short motions can cause your opponent to be disabled quickly. This motion can be done to trigger a gag reflex in the throat when done to the throat at the Sternal Notch. The same motion can be done to the base of the jaw by the ear; this will cause intense pain without permanent damage.

Punching - There are five basic punches and two advanced method punches. The five basic are the hammer fist, jab, cross, hook and uppercut. Two advanced punch are the spinning back fist and hammer fist-elbow strike. Power is generated from the hips into the shoulders then the arms. A good punch is aimed 6 inches past the body. One must image that they are punching through the body. A hammer fist is the same mo-tion as the forehand and backhand strikes only if using the weapon hand you are striking with the butt of the stick. If you are striking with a fist it is with base of the fist. A jab is the same as media strike; the only difference is that stick is what hits your opponent instead of your fist. A jab punch is done straight at your target. A cross punch is done across the body to the opposite side of your opponent’s body. A hook punch is done as name in implies with a hooking motion. An elbow strike can be added when one throws hook punch. For maximum impact if you use the checking hand to stop/ hold your opponent and then hit them with the hook. With stick in your hand you are using butt of the stick for the strike. A spinning back fist is done when you reverse from the hawk stance, and change direction and strike with a backhand strike.

The Mataw-Guro Association is adding to its Notebook a little about the basics of different styles, so once learning the basics of the Filipino martial arts the practitioner can then continue on in a style of their choice gaining knowledge and skills.

The Basics of Kalis Ilustrisimo System “As I was Taught” By: Peachie Baron Saguin

The origin of Kalis Ilustrisimo can be traced in Bantayan Island, a small town in Cebu. It was propagated by Antonio Ilustrisimo focusing on two methods, De Campo better known as Long Range and De Salon, Short range.

Orientation The orientation of Kalis Ilustrisimo is based on a bladed weapon. When we parry or deflect an attack, whether we are using a stick or a sword the principle we use is that of a bladed weapon. Ilustrisimo style is not only more on elbow movement, but we also make use of body movement by shifting our body weight. We call our body mechanics as De Elastico

Size and Length of Our Weapons The Ilustrisimo system has no definite size or length of stick or sword. We use whatever is available at hand. When the length of the stick reaches the sternum, we considered that a long stick.

Our Weapons are the following: 1. Baston. Another name is “Olisi” 2. Swords are called “labaha” 3. Alho - a long bamboo use in carrying heavy jars 4. Corto - short stick known as dulo dulo 5. Tukon - use in pushing boat away from the shore

How We Grip Our Stick We hold the stick at the very end/butt usually for use in long range combat and the strike is more power-ful and faster. However in close quarter encounters we grip the stick about two inches above the edge (from the end) so we can also use the end/butt as ponyo.

Centro baston - we hold the stick at the middle. This is how we hold our weapon when we are just walking without any intention of engaging in a fight. This is the same when we hold the stick at the edge with the stick on an upright position.

How We Hold Our Weapon The middle finger is use to grip the handle and the thumb is place above the point finger to have a better control of the sword/stick. The little finger and the index are relax and are use to guide the grip.

Our Stances From the natural position, we put one foot backwards, weight at the center, and knees slightly bended. Lead foot is lightly touching the ground for easy movement. Rear foot is planted on the ground, heel up for fast movement. We stand tall, not be leaning forward or backward

Arnis Alliance Forms Between Sen. Zubiri and Mataw Guro Group By Perry Gil S. Mallari Originally published in the Manila Times)

Sen. Juan Miguel Zubiri, author of Republic Act (RA) 9850, or the Arnis Law, recently forged an alliance with the Samahan ng mga Mataw-Guro ng Arnis de Mano International (Association of Mataw-Guro-Arnis de Mano International) in hastening the complete integration of arnis in the Philippines’ educational system.

Mataw Guro, headed by its president professor Armando Soteco is committed to elevate the standards of arnis instruction in the Philippines and abroad. The etymology of the word “mataw” is Maguindanaoan and translates to “knowledgeable” while “guro” is a Filipino general term for “teacher.” Taken together, “Mataw-Guro” means “knowledgeable teacher.”

The group is now actively training Physical Education teachers in teaching and coaching arnis, the Philip-pines national martial art and sport by the virtue of RA 9850.

In a recent meeting with Mataw Guro officials from the Philippines and the United States, Zubiri re-vealed that in the incoming months of March and April, the Senate Committee on Sports of which he is vice chairman would call for public hearings to hasten the completion of the implementing rules and regu-lations (IRR) of RA 9850. The IRR is pivotal element for the complete execution of the Arnis law.

The Mataw-Guro group is scheduled to present a “Life Achievement Award” to Zubiri on February 26. The event will be attended by a delegation from the United States led by Mataw Guro Louelle Lledo, vice president of the association and its organizer in the US. The group includes Filipino martial arts Masters Andy Sanano, Emmanuel ES Querubin, as well as brothers Walter and Wesley Crisostomo.

(from left) MG Soteco, MG Lledo, Sen. Zubiri and MG Dimaisip

Position of our Arms The hand holding the sword/stick is not too far from the body, elbows slightly rubbing the side and sword/stick should not be pointing backwards but upwards. Our Sword/stick is maintained on an upright position. The other arm is should be positioned on the side with bended elbow, open palm (if not holding a weapon) ready to parry or deflect and attack. The thumb should be hidden to avoid injury while parrying.

Our Peripheral Vision We make use of our peripheral version. Our focus should be scattered and not concentrated only to the front.

Our Cutting Techniques When we execute a strike or a cutting attack, is it like throwing a ball. Movement includes hip twisting and foot twisting and our other hand is synchronizing, ready to parry. The purpose of the other hand move-ment is to deflect the attack at the same time parrying.

Our Different Strikes

1. Arko 2. Real 3. Angolo

4. Planchada

5. Alda viz

6. Rompida

7. Sampal

8. Abaniko

9. Witik

10. Buklis

11. Rapilon

12. Bagsk Angolo

13. Bagsak Real

14. Salto 15. Corto 16. Tonio

Note: All strikes of Ilustrisimo have a name

Foot Work 1. Retirada - Natural footwork

2. Ekis 3. Lutang

4. Angolo

5. Tatlong Bao palihis

6. Tatlong Bao paatras

7. Doblete

Strikes/Attack1. Planchada Neck2. Angolo Abierta

3. Angolo Serrada

Counter Strike/DefenseEstrella

From Abierta Position: - Vertical - Cruzada - Cadena Real -Recta Buka - A la Contra Serrada - Doble CarreraFrom Serrada Position: - Vertical - Cruzada - Fraile Pauyon - Sunkite - Recta Buka - Real Pauyon

4. Real

5. Planchada Serrada

6. Angolo Serrada

From Abierta Position: - Media Fraile - Pluma - Tunbada - Cadena Real - Cadena Real - - Tunbada - Alda viz - ArkoFrom Abierta Position: - Estrella - Fraile - PlumaFrom Abierta Positiion: - Pluma Vertical - Sunkite - Pauyon - Fraile - Florete

Strikes and Counter Strikes

7. Planchada low Serrada (hips)

8. Planchada low Abierta

From Abierta Position:

- Cruzette Tusok

- Salok - Bagsak

- Cruzada

- Arko

From Serrada Position:

- Cruzada

- Doblete

- Serrada

12 Strikes1. Angolo

2. Planchada low Serrada

3. Planchado low Abierta

4. Angolo Serrada

5. Thrust Abdomen

6. Thrust Serrada Heart

7. Thrust Abierta Heart

8. Thrust Serrada Abdomen

9. Alda viz

10. Thrust Serrada Eye

11. Thrust Abierta Eye

12. Real from Serrada

Counter StrikesSword hand - Dagger hand -

Sword hand - Dagger hand -

Sword hand - Dagger hand -

Sword hand - Dagger hand -

Sword hand - Dagger hand -

Sword hand - Dagger hand -

Sword hand - Dagger hand -

Sword hand - Dagger hand -

Sword hand - Dagger hand -

Sword hand - Dagger hand -

Sword hand - Dagger hand -

Sword hand - Dagger hand -

Angolo strike Parry

Cruzada low Thrust heart

Alda viz Parry daga pointing downward

Cruzada high Parry

Angolo Strike Parry daga pointing upward

Vertical Follow thru parry

Pluma Serrada/vertical strike Follow thru

Cruzette Parry

Alda viz Block angle

Vertical Follow thru

Pluma Follow thru

Fraile Pauyon Thrust Chest

First Part - Dagger hand

9. Tusok Serrada

10. Ve Tusok Abierta

From Abierta Position:

- Estrella

- Pauyon

From Serrada Position:

- Pluma

- Sampal

- Kabay an

- Vertical

- Estrella

- Vertical

Second Part - Puntai y Daga

12 Strikes

1. Real Abierta

2. Planchada Serrada

3. Planchada Abierta

4. Angolo Serrada

5. Thrust Abdomen

6. Thrust Serrada Heart

7. Thrust Abierta Heart

8. Thrust Serrada Abdomen

9. Alda Viz

10. Thrust Serrada Eye

11. Thrust Abierta Eye

12. Real

Counter strikes

Sword hand - Fraile

Dagger hand - Block

Sword hand - Cruzette

Dagger hand - Block over the sword

Sword hand - Block over the dagger

Dagger hand - Cruzette

Sword hand - Fraile from Serrada

Dagger hand - Parry

Sword hand - Thrust to belly then cruzette

Dagger hand - Parry daga pointing downwards

Sword hand - Estrella abierta/cut belly and Deflect sword

Dagger hand - Block and deflect sword

Sword hand - Estrella Serrada/cut/deflect sword

Dagger hand - Block and deflect sword

Sword hand - Alda viz to cruzada low

Dagger hand - Parry

Sword hand - Classico to belly thrust

Dagger hand - Parry angle

Sword hand - Pauyon to planchada corto

Dagger hand - Block

Sword hand - Kabay an to abanico then cut Belly

Dagger hand - Block and parry

Sword hand - Boca de lobo

Dagger hand - Follow thru and parry

Coordination of Mind & BodyPanimbang - (Balance) - Without balance the attitude or stance can never be effective. Balance is achieved only through correct body alignment. Keeping the feet in proper relation to each other, as well as with the body, helps to maintain correct body alignment. Proper balance permits relaxation, speed, and ease of movement, as well as a mechanical advantage making tremendous power and force possible.

Koordinasyon - (Coordination) - Coordination is the quality which enables the individual to integrate all the power and capacities of the organism into an effective action. Before movement takes place, there must be a change of muscular tension on both sides of the joint to be moved. The effectiveness of this muscular teamwork is one of the factors which determines limits of speed, endurance, power, ability, and accuracy in performance.

Resistensiya / Tatag - (Endurance) - The development is by hard and continuous practice which exceeds the steady psychological state and produces near-exhaustion temporarily.

Tindig / Tayo - (Posture) - Good posture enables a person to move with grace and ease. Posture is impor-tant because the body must have a strong foundation to impart power.

Lakas - (Power) - Power equals force times speed, learning to exert the movement with accuracy and speed causes power.

Tiempo - (Timing) - To initiate the attack or movements when the opponent has started the preparation of attack. This timing becomes a technique in taking advantage of the slight interval before the opponent can readjust to make a block.

Bilis - (Speed) - Units in length divided by units of time, (quick action). Speed as a rate of motion differs from velocity in that, speed indicates only the magnitude of the change and not the direction.

Uri ng Bilis - (Types of Speed)1. Mental Speed - quickness of mind in what to select; the right moves to frustrate and coun-ter the opponent. 2. Perceptual Speed - quickness of the eye to see an opening to discourage the opponent, enough to confuse him and slow him down.

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Conscious of the need of developing enthusiasm, interest and dedication in the field of Filipino Martial Arts Education, and in order to act as guardians of the noble and beneficial aims of Arnis de Mano and compelled by our desire to establish an Association which shall be the rallying point of all teachers of Arnis de Mano as a Filipino Martial Arts Education, the Mataw-Guro’s hereby mutually agree to unite and associate ourselves for such a purpose.

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