Informative Issue No. 46 2012

Arnis BaliteArnis Balite

Punong Guro Steven K. Dowd

Before you can Become a Student of Arnis Balite:The Foundation of Fundamentals and Basics

Basic Principles Foundation Footwork 7 Strikes - Pitong Hampas Mga Hampas - Moving 7 Strikes 5 Thrusts - Limang Patusok Mga Patusok - Moving 5 Thrusts Swing Block - Unday Salag Shield/Wing Block - Kalasag Salag Empty Hand Articles of Faith Requirements Punong Guro Steven K. Dowd

Each issue features practitioners of martial arts and other internal arts, other features include historical, theo-retical and technical articles; reflections, Filipino martial arts, healing arts, the culture of the Philippines and other related subjects. The authors, publisher and owner of this online magazine are not responsible for any injury, which may result from the instructions contained in this online magazine. Before embarking on any of the physical activates described in the magazine, the reader should consult his or her physician for advice regarding their individual suitability for per-forming such activity. The ideas and opinions expressed in the FMA Informative online magazine are those of the authors or instruc-tors being interviewed and are not necessarily the views of the publisher, editor or owner of the FMA Informative. The articles are the property of the author’s that wrote them and cannot be used without the permission of the author. The FMA Informative is for the promulgation and promotion of the Filipino martial arts and the Culture of the Philippines. NO issue can be printed and Sold for Monies, without the express permission of the Owner and Publisher of the FMA Informative.

The FMA Informative for this issue talked to Punong Guro Steven Dowd on the subject of the Arnis Balite.From Punong Guro Steven K. Dowd: The art of Arnis Balite is actually two arts one being Boxing which Pundador Manuel M. Aguillon loved and was a champion before the war. During the war in which Japan invaded the Philippines Pundador Aguillon joined the resistance as a guerilla fighter in the mountains and jungles in the Zambales region of Luzon island. It was during this time he learned stick and bolo fighting from other guerilla’s. After the war he com-bined the two arts into his own personal art which at the time he just called Arnis. Upon his passing the art was then called Aguillon Arnis and once the family passed the art to Steve Dowd, with authorization from the family it was called Arnis Balite. Punong Guro Dowd as inheritor of the art is holding onto the art until one of the grandchildren becomes interested and then will be taught the art and the art will go back into the family. Arnis Balite was never taught publicly or commercially by Pundador Aguillon, he taught at his residence and being selective and discreet in choosing students, he would only teach those who he found had high moral standards and really wanted to have the knowledge of his family’s art. There is no ranking in Arnis Balite; either you are a student or a teacher. Fact is, before Pundador would teach his art fully to a student, the student first must learn what has been published in the issue of the FMA Informative. This includes the fundamental, con-cepts, and theories of the basic movements strike, thrusts, blocks etc of the cane, but also of empty hand. If the beginner could not grasp these things then they would not be allowed to become a student. One must remember to have an open mind. Punong Guro Dowd follows the same mind set as Pundador, never having a school but teaches the art at his residence, selective in his students with the same requirements as Pundador Aguillon had. Yes it is old school and traditional, but if not accepting it then just move-on.

www.arnisbalite.com

Guro Ross Farrow Inactive - Medical

Guro Client ‘Dusty’ Rhoades Sparks, Nevada

guro-rhodes@arnisbalite.com

Basic PrinciplesFoundation - Stances Stances are taught to the student, so the body could become balanced and coordinated in its movements. In actual sparring, the stances are not strictly adhered to, but in watching a student one can recognize the geometries being used in the stances. This was a definite benefactor in the success in movement for timing, balance and coordination against an oppo-nent. Stances are the foundation to any style of fighting art. For without the proper stance, attack-ing, defending, or countering an attack will not have the power, coordination, timing, or balance required for success. Proper stanc-es with the proper body alignment give mobility and the ability for executing blocks and strikes with confidence. Distance between the feet in a stance is natural to the person assuming the stance. Taller stu-dents feet maybe further apart to where a shorter person feet will not be so far apart. The concept is the weight distribution. Shifting from one stance to another with agility and strong footwork is an art within itself. This is essential in combat for without it balance and timing will not be correct and failure is as-sured. The stance described below by name will be familiar to practi-tioners, which have knowledge of Karate, Kung-Fu etc. And are used in context in performing forms in the basic training of Arnis Balite,

Footwork Using the footwork of a boxer in actual sparring there are two theories on movement that could be used separately or in combination. First was the ‘X’ movement, which with the center of the ‘X’ as the base, the other foot could move out at angles to defend or attack the opponent. The second is the ‘O’ movement that when moving the stationary foot from the ‘X’ circled around or away from the opponent, for another angle of attack or escape.

just to get the student adapted to weight distribution, movement from one position to another for timing, balance and coordination.Neutral Stance Tayong Pagpugay Standing with the feet approximately shoulder’s width apart, the body’s weight is equally distributed. Feet are at a 45-degree angle outward from the front.Forward Stance Tayong Pasulong Moving either foot out to the front, then in a circular move-ment outward, (If a line were to be drawn on the floor noting the center of the body from front to rear, then if the front foot is eight inches from one side of the line then the rear foot should be an equal distance on the other side of the line). Eighty percent of the body weight is on the forward leg with 20 percent on the rear leg. The knee of the front leg is bent slightly and the leg in the rear is straight with the foot pointing forty-five degrees out to the side from the front.Back Stance Tayong Paurong Moving either foot to the back, then in a circular movement outward, (Again if a line were to be drawn on the floor noting the center of the body from front to rear, then the front foot is eight inches from one side of the line then the rear foot is an equal dis-tance on the other side of the line). Sixty percent of the body weight is on the rear leg, and 40 percent of

the body weight on the front leg. The foot of the rear leg is pointing straight outward to the side, with the knee bent outward in the same direction. The knee of the front leg is also slightly bent.Cat Stance Tayong Pusa Moving either foot to the front, the rear foot turns outward at a forty-five-degree angle from the centerline. The front foot fac-ing to the front is resting on the ball of the foot approximately six inches to one foot in front of the rear foot, with 5 percent of the body’s weight. The rear foot has 95 percent of the body’s weight. The knee of the rear leg is bent in the direction of the foot, with the knee of the front leg being slightly bent.Oblique Stance Tayong Pahiwid Moving one or the other foot in front at a forty-five-degree angle outward from the centerline of the body (stepping obliquely), once in the stance the weight is distributed with 70 percent on the front leg and 30 percent on the rear leg. [This is a good stance in moving towards or away from the opponent at an angle].Straddle Stance Tayong Pasaklang Moving either leg straight out to the side, just outside shoul-ders width, the body’s weight is distributed evenly on each leg. Feet are pointed outward at a forty-five-degree angle from the center-line. Both knees are slightly bent forward.

Stepping Forward to the Left

Stepping Back to the RightStepping Back to the Left

Stable Stance Facing Opponent

Opponent

Stepping Forward to the Right

Stable Stance Facing Opponent

Opponent

Foot Movement Forward: When moving forward the foot moving forward moves straight to the front then half circle (right foot straight then to the right - outward / left foot straight then to the left - outward)

Foot Movement Backward: When moving backward the foot moving backwards moves half circle inward then straight (right foot to the left - inward then straight / left foot to the right - inward then straight)

7 Strikes - Pitong Hampas

Cane Held in the Left HandNote: P stands for the way the palm faces during the strike.

Cane Held in the Right HandNote: P stands for the way the palm faces during the strike.

1

7 7

5 5 66

4 4 33

2 21

Opponents1 - Left Temple 2 - Right Temple 3 - Left Shoulder to Wrist 4 - Right Shoulder to Wrist 5 - Right Knee to Ankle 6 - Left Knee to Ankle 7 - Crown {head}

Opponents1 - Right Temple 2 - Left Temple 3 - Right Shoulder to Wrist 4 - Left Shoulder to Wrist 5 - Left Knee to Ankle 6 - Right Knee to Ankle 7 - Crown {head}

To learn the 7 strikes, the student is taught a form called Mga Hampas - Moving 7 Strikes, the student must gain the coordination of movement, while executing the strikes. The following is to familiarize one’s self in combining the strikes with footwork. This will bring about coordination, balance, and timing.Note: As the cane is moved from one strike to the next strike the position of the cane is important. As the stu-dent can notice a strike can be executed from any position that the cane is in when moving from one strike to the next. This is executed with the cane in the right hand and then the cane is transferred to the left hand to execute the movement using the opposite side of the body.

Mga Hampas Moving 7 Strikes1. Neutral stance, (cane held in the right hand) (left open hand held in defensive position for each strike). 2. Move the right foot to the front to form a forward stance, execute a strike to the opponents left temple. 3. Move the left foot to the front to form a forward stance, execute a strike to the opponents’ right temple. 4. Move the right foot to the front to form a forward stance, execute a strike to the opponents left shoulder.

5. Move the left foot to the front to form a forward stance, execute a strike to the oppo-nents’ right shoulder. 6. Remain in the same stance; execute a strike to the opponents’ right knee. 7. Move the right foot to the front to form a forward stance, execute a strike to the oppo-nents left knee. 8. Move the left foot to the front to form a forward stance, execute a strike to the oppo-nents’ crown {head area}, [cane comes from the right side of the body {circular motion} to the front].

-- To continue now the student must execute the strikes moving backwards. --9. Move the left foot backwards, right foot in front to form a forward stance, execute a strike to the opponents left temple. 10. Move the right foot backwards, left foot in front to form a forward stance, execute a strike to the opponents’ right temple. 11. Move the left foot backwards, right foot in front to form a forward stance, execute a strike to the opponents’ left shoul-der. 12. Move the right foot backwards, left foot in front to form a forward stance, execute a strike to the opponents’ right shoulder 13. Remain in the same stance, execute a strike to the opponents right knee. 14. Move the left foot backwards, right foot in front to form a forward stance, execute a strike to the opponents’ left knee 15. Move the right foot back left foot in front to form a forward stance execute a strike to the opponents’ crown {head area}, [cane comes from the right side of the body {circular motion} to the front]. 16. Move the right foot next to the left foot, feet together, cane moves to the horizontal position in front of the body (waist height), hands holding the cane at each end, form a neutral stance.

-- To continue the cane is transferred to the left hand to execute the movements with the left side of the body --17. Cane held in the left hand, (right open hand held in defensive position for each strike), move the left foot to the front to form a forward stance, execute a strike to the opponents’ right temple. 18. Move the right foot to the front to form a forward stance, execute a strike to the opponents left temple. 19. Move the left foot to the front to form a forward stance, execute a strike to the opponents’ right shoulder. 20. Move the right foot to the front to form a forward stance, execute a strike to the opponents left shoulder. 21. Remain in the same stance, execute a strike to the opponents left knee. 22. Move the left foot to the front to form a forward stance, execute a strike to the opponents’ right knee. 23. Move the right foot to the front to form a forward stance, execute a strike to the opponents’ crown {head area}, [cane comes from the left side of the body {circular motion} to the front].

-- To continue now the student must execute the strikes moving backwards. --24. Move the right foot backwards, left foot in front to form a forward stance, execute a strike to the opponents’ right temple. 25. Move the left foot backwards, right foot in front to form a forward stance, execute a strike to the opponents left temple. 26. Move the right foot backwards, left foot in front to form a forward stance, execute a strike to the opponents’ right shoulder. 27. Move the left foot backwards, right foot in front to form a forward stance, execute a strike to the opponents left shoul-der. 28. Remain in the same stance; execute a strike to the opponents’ left knee. 29. Move the right foot backwards, left foot in front to form a forward stance, execute a strike to the opponents right knee. 30. Move the left foot backwards, right foot in front to form a forward stance, execute a strike to the opponents’ crown {head area}, [cane comes from the left side of the body {circular motion} to the front]. 31. Move the left foot next to the right foot, feet together, cane moves to the horizontal position in front of the body (waist height), hands holding the cane at each end, form a neutral stance.

5 Thrusts - Limang Patusok

Cane Held in the Left HandNote: P stands for the way the palm faces during the strike.

Cane Held in the Right HandNote: P stands for the way the palm faces during the strike.

5

4 32 1

5

4321

Opponents1. Left Collar Bone 2. Right Collar Bone 3. Left Eye - area 4. Right Eye - area 5. Abdomen {Stomach} 2 Hands used Left Hand in Front / Right Hand in Back

Opponents1. Right Collar Bone 2. Left Collar Bone 3. Right Eye - area 4. Left Eye - area 5. Abdomen {Stomach} 2 Hands used: Right Hand in Front / Left Hand in Back

To commence learning the 5 thrusts, the student is taught a form called Mga Patusok - Moving 5 Thrusts, the student must gain the coordination of foot movement with the movement of the thrusts. The follow-ing is to familiarize the student with the five thrusts along with footwork, timing and balance.Note: On the strikes to the collar bone area the cane is at a slight downward angle, the strikes to the eye area are straight, and the strike to the stomach is using both hands on the cane.

Mga Patusok - Moving 5 Thrusts1. Neutral stance, (cane held in the right hand) (left open hand held in defensive position for each thrust). 2. Move the left foot to the front to form a forward stance, execute a thrust to the opponents left collarbone. 3. Move the right foot to the front to form a forward stance, execute a thrust to the opponents’ right collarbone. 4. Move the left foot to the front to form a forward stance, execute a thrust to the opponents left eye area. 5. Move the right foot to the front to form a forward stance, execute a thrust to the opponents’ right eye area. 6. Move the left foot to the front to form a back stance, execute to the opponents abdomen (stomach), [shift to a forward stance, when executing the strike] (both hands on the cane {left hand is in front and on top/right hand is in back and on the bottom}).

-- To continue now the student must execute the strikes moving backwards. --7. Remain in the same stance; execute a thrust to the opponents left collarbone. 8. Move the left foot backwards, right foot in front to form a forward stance, execute a thrust to the opponents’ right col-larbone. 9. Move the right foot backwards, left foot in front to form a forward stance, execute a thrust to the opponents left eye area. 10. Move the left foot backwards, right foot in front to form a forward stance, execute a thrust to the opponents’ right eye area. 11. Move the right foot backwards, left foot in front to form a back stance, execute to the opponents abdomen (stomach), [shift to a forward stance, when executing the strike] (both hands on the cane {left hand is in front and on top/right hand is in back and on the bottom}). 12. Move the left foot back next to the right foot, feet together, cane moves horizontal in front of the body {waist height}, hands holding the cane at each end, and form a neutral stance.

-- To continue the cane is transferred to the left hand to execute the movements with the left side of the body --13. Cane held in the left hand, (right open hand held in defensive position for each thrust), move the right foot to the front to form a forward stance, execute a thrust to the opponents’ right collarbone. 14. Move the left foot to the front to form a forward stance, execute a thrust to the opponents left collarbone. 15. Move the right foot to the front to form a forward stance, execute a thrust to the opponents’ right eye. 16. Move the left foot to the front to form a forward stance, execute a thrust to the opponents left eye. 17. Move the right foot to the front to form a back stance, execute to the opponents abdomen (stomach), [shift to a for-ward stance, when executing the strike] (both hands on the cane {right hand is in front and on top/left hand is in back and on the bottom}).

-- To continue now the student must execute the strikes moving backwards. --18. Remain in the same stance; execute a thrust to the opponents’ right collarbone. 19. Move the right foot backwards, left foot in front to form a forward stance, execute a thrust to the opponents left col-larbone. 20. Move the left foot backwards, right foot in front to form a forward stance, execute a thrust to the opponents’ right eye. 21. Move the right foot backwards, left foot in front to form a forward stance, execute a thrust to the opponents left eye.

22. Move the left foot backwards, right foot in front to form a back stance, execute to the opponents abdomen (stomach), [shift to a forward stance, when executing the strike] (both hands on the cane {right hand is in front and on top/left hand is in back and on the bottom}).23. Move the right foot back next to the left foot, feet together, cane moves horizontal in front of the body {waist height}, hands holding the cane at each end, and form a neutral stance.

Swing Block - Unday Salag When executing the Swing Blocks the technique to remember in terminology is if the cane is in the right hand and the student executes the block across the body to the left side, it is known as a Inside Swing Block. With the cane in the right hand and the student executes the block to the right side of the body then it is known as a Outside Swing Block. The same principles apply if the cane is in the left hand.

Left Bracing Hand Right Bracing Hand

In executing the Swing Block the ready hand braces the cane against the opponents strike. The hand is positioned in the middle of the cane, between the hand holding the cane and the end of the cane. If the bracing hand is to near the end then when the cane is struck by the opponents cane it is weak and may break. If the bracing hand is to near the hand holding the cane then the end of the cane has no support and may come at you as the opponent strikes it. The cane is positioned on the bracing hand running along the palm with one end crossing the sec-ond crease of the thumb and the last crease of the pinky. This is to prevent the fingers to stay open and not close around the cane (as if holding the cane) and prevent the opponents cane from hitting the fingers, and also preventing the fingers to not align with the cane causing the pinky and/or the thumb to go around the cane, preventing the opponents cane from hitting the thumb or finger. Also in the proper position the ready hand is easily able to slide off the cane to trap, strike, or grab the opponents cane or the opponent.

1. Neutral stance. 2. {Cane held in right hand} Turn (half-left), move the right foot back, left foot in front to form a back stance, execute a (middle) inside swing block. 3. Move the right foot to the front to form a back stance, execute a (middle) inside swing block 4. Move the left foot to the front, turn (right), {Cane is held in a defensive position}. 5. Right foot in front form a back stance, execute a (high) outside swing block. 6. Then a downward outside swing block.

7. Move the left foot to the front to form a back stance, execute a (high) outside swing block. 8. Then a downward outside swing block. 9. Move the right foot next to the left foot, turn (half-left), right foot moves to the rear left foot in front to form a forward stance, execute {both hands at each end of the cane} a upward block. 10. Move the right foot next to the left foot (hands remain on each end of the cane) form a neutral stance.

- To continue the cane is transferred to the left hand to execute the movements with the left side of the body -

11. {Cane held in left hand} Turn (half-right), move the left foot back, right foot in front to form a back stance, execute a (middle) inside swing block. 12. Move the left foot to the front to form a back stance, execute a (middle) inside swing block. 13. Move the right foot to the front, turn (left), {cane held in

a defensive position}. 14. Left foot in front form a back stance, execute a (high) outside swing block. 15. Then a downward outside swing block. 16. Move the right foot to the front to form a back stance, execute a (high) outside swing block. 17. Then a downward outside swing block. 18. Move the left foot next to the right foot, turn (half-right), left foot moves to the rear right foot in front to form a for-ward stance, execute {both hands at each end of the cane} a upper block. 19. Move the left foot next to the right foot (hands remain on each end of the cane) form a neutral stance.

Shield/Wing Block - Kalasag Salag

In executing the Shield/Wing Blocks no matter what hand the cane is in, if it is said to be a left shield or left wing block. The block is on the left side of the body. If right shield or right wing block the block is executed on the right side of the body. The shield/wing block acts like a shield, against the body or a part of the body.

1. Neutral stance. 2. {Cane held in right hand} Turn (half-left), move the right foot back, left foot in front to form a back stance, execute a (middle) {right shield} wing block. 3. Move the right foot to the front to form a back stance, execute a (middle) {left shield} wing block.

4. Move the left foot to the front, turn (right); {turn is executed in a defensive manner}. 5. Right foot in front form a back stance, execute a (high) {right shield} wing block. 6. Shuffle forward lower the body to form a kneeling stance, execute a (low) {left shield} wing block. 7. Raise the body move the left foot to the front to form a back stance, execute a (high) {left shield} wing block. 8. Shuffle forward lower the body to form a kneeling stance, execute a (low)

{right shield} wing block. 9. Raise the body, move the right foot next to the left foot, turn (half-left), right foot moves to the rear left foot in front to form a forward stance, execute {both hands at each end of the cane} a downward block. 10. Move the right foot next to the left foot (hands remain on each end of the cane) form a neutral stance.

- To continue the cane is transferred to the left hand to execute the movements with the left side of the body - 11. {Cane held in left hand} Turn (half-right), move the left foot back, right foot in front to form a back stance, execute a

(middle) {left shield} wing block. 12. Move the left foot to the front to form a back stance, execute a (middle) {right shield} wing block. 13. Move the right foot to the front, turn (left); {turn is executed in a defensive man-ner}. 14. Left foot in front form a back stance, execute a (high) {left shield} wing block. 15. Shuffle forward lower the body to form a kneeling stance, execute a (low) {right shield} wing block. 16. Raise the body move the right foot to the front to form a back stance, execute a (high) {right shield} wing block. 17. Shuffle forward lower the body to form a kneeling stance, execute a (low) {left shield} wing block. 18. Raise the body, move the left foot next to the right foot, turn (half-right), left foot moves to the rear right foot in front to form a forward stance, execute {both hands at each end of the cane} a downward block.

19. Move the left foot next to the right foot (hands remain on each end of the cane) form a neutral stance.

Empty Hand In using empty hands for attack and defense, Pundadorr Aguillon modified western boxing. Instead of thinking the range is from the hand to the opponents body. He believed that you should dissect your opponent using the hand to close in the distance from you to the opponent attacking the attacking limb moving into the opponent leaving their attacking limbs outside your attack. In essence if not attacking the joints and pressure points of the opponents fighting tools, then execution of parries moving the opponents attacking tools to the side and moving into the opponent to cause damage to the main body.

Sweeping The leg sweeping techniques are to take the opponent to the floor. It must be remembered while execut-ing the sweeping techniques the free hand has grabbed the opponent for control while the opponent falls to the floor. This is so to be able to follow up with an attack instead of taking the chance that when the opponent falls they could attain their own position for attack.

Kicking Kicking which is either a thrust [using the ball of the foot] or snap [using the top of the foot] execution is not done any higher than the abdomen, the main targets being the ankles, knees, thighs, and groin areas. This is to distract the opponent or disable their mobility while moving into a close attack range. The main idea is to execute an attack with the free hand simultaneously or with the stick while executing the kick or sweep.

Blocking Blocking is as in the basic applications of other martial arts with downward, upper, inside, and outside, however with a parrying motion. The hand forearm or elbow can be used to execute the blocks. In Arnis Balite the hand open in blocking and is to either slap the opponents attacking limb away opening the opponents’ main body to attack., or to hook following into a trapping situation, while moving into the opponent.

Articles of FaithThe following Articles of Faith are not only key concepts in the philosophy underlying the practice of Arnis Balite, but also serves as basic ground rules that students and teachers alike must follow. It is accepted that stu-dents and teachers in good standing will follow these principles to the best of their ability.Note: These were beliefs of Pundador Manuel Aguillon, however they were update by adding the word he or she due to when Pundador was alive and taught he would not teach women the art.1. He, who gives respect, gains it. Willing acceptance of the prerogatives of higher rank and support of a lower ranking individual’s human dignity and self-esteem is necessary in the practice of Arnis Balite. He must be aware that many other legitimate martial art styles are not deserving of ridicule. One must search for the points of commonality, and value differences, to cooperatively coexist.2. The art of Arnis Balite seeks to develop an individual’s self-confidence. Students must realize that given a wide variance in individual capacity, each person has a unique potential to fulfill. Belief in one’s ability to ex-ceed his achievements can facilitate the process.3. No one is perfect. Accepting one’s own imperfections eliminates a roadblock to progress.4. Every practitioner of Arnis Balite must strive for excellence in everything he or she does. Being the best is not the objective. Rather, doing the best one can is the goal. This is the only way an individual can discover his full potential and therefore his or her limits.5. Be patient. Do not laugh at the mistakes of others. The practice of Arnis Balite teaches that errors should result in growth experience, not a humiliating one.6. Enthusiasm benefits everyone. Helping others, encouraging participation and serious practice promotes the art and develops the person.7. Cleanliness, other than its social significance, also says something about an individual’s self-respect.8. Determination often represents the difference between success and failure. Each student shall strive to de-velop his or her endurance, and to build a capacity for calmness in the face of adversity.

Requirements- Once being accepted to train in the art of Arnis Balite you are known as a beginner and must meet the require-ments within 6 months or you will be excused from further training. - Once a practitioner has learned and perfected the basics for beginners (Baguhan), they are accepted as a stu-dent and must perfect the students (Estudyante) requirements. - Once the practitioner has perfected all requirements of student (Estudyante) they will be recognized as a teacher (Guro)

BaguhanBeginner

Basics Empty Hand:• Stances• Blocking• Strikes [soft/hard] • Kicking Techniques• Glancing & Turning• Rolls & Falls

Arnis Basics:• Pitong Hampas {7-strikes}• Limang Patusok {5-thrusts}• Unday Salag {swing blocks}• Kalasag {shield Blocks}• Ganting Hataw

Arnis Forms: • Mga Hampas• Mga Patusok• Uring Pag-Salag Sa - Wa• SA - O – S

Hampas Sayaw-An

EstudyanteStudent

Basic First Aid

Arnis:Huli Lusob

Arnis Forms:Tagbat - Tagpos Bataya’n - Penetrating Fundamentals

• Togbat Sa, Wa • Togbat L.B• Togbot L.M. Sa, Wa, Lo

Asot - Successive Blows• Asot• Asot ½• Asot Tapos ½ Sa, Wa, Lo• Saboy – X

Tagbat - Tagpos Bataya’n - Penetrating FundamentalsAsot - Successive Blows

www.arnisbalite.com

Punong Guro Steven K. Dowd

It was in 1974 that Ste-ven Dowd who was in the United States Navy and was transferred to San Maguel Communication Station, Philippines, located in San Antonio Zambales as Armed Forces Police for the town and Military Security Police for the Naval Communication Station. It was also during this time Steven met Pundador Manuel Agu-illon and commenced his training in Arnis Balite, however at the time Pundador Aguillon just called it Arnis, and upon passing away it was known as Aguillon Arnis and then once the family had Punong Guro Dowd inherit and represent the family in promoting the art with the permission of the family it was changed to what it is known now as Arnis Balite. Also on another note, that while Steven Dowd was stationed at the Naval Correctional Facility (1977 - 1979), Steven would travel to San Antonio, Zambales to con-tinue his training with Pundador

Aguillon. Steven was promoted to Guro upon leaving the Philippines in 1979. It also must be noted that Pundador did not have rankings, belts, or certificates. He would just tell you that you had permission to teach his art. Just before, he was going to retire with 24 and a half years of active service from the Navy, and before making the last West-ern Pacific Deployment aboard the USS Comstock LSD-45. (Also stationed aboard the USS Com-stock was Pundadors’ son Manuel Aguillon, Steven had met him once when he first started training with Pundador, and at that time Pundador’s son had enlisted in the US Navy). As the years passed Manuel Aguillon became set and guarded in his family’s art. Being selective and discreet in choos-ing students, he would only teach those who he found had high moral standards. So upon his pass-ing away on January 8, 1991, only

a hand full of students are known to exist that had the knowledge of Aguillon Ar-nis. The qualified teachers in the Philippines taught as he did in an informal atmosphere, taking few students and maintaining the high standards which Pundador promulgated and believed in. Pundador’s wife Consolacion Mata Aguil-lon passed away in 1995. Left behind were four daughters and one son. Named by his surviving family members as the most senior teacher

and executor of the Aguillon Arnis system Steven K. Dowd was ap-pointed by the family to carry on their father’s art and philosophies and the title of Punong Guro was bestowed on him. In 1998 in talking with the son and daughters of Pundador Aguillon it was proposed and ac-cepted that the family art would use the name of Arnis Balite, their father’s nickname while he was a Champion Boxer, (Kid Balite). Punong Guro Dowd on a trip to the Philippines in 2004 vis-ited with the Aguillon family and has learned that the other instruc-tors that were personally taught by their father have passed away during the years. And he is the only original student left that was taught by their father Pundador Manuel Aguillon. So since 1991, Punong Guro Dowd has continued to teach and represent the art of Arnis Balite. Arnis Balite has never been taught outside the Philippines

Pundador Manuel Molina Aguillon Sr.

Nenita Aguillon and Perlita Evangelista (Two of Pundador’s daughters)

and never to anyone other than a Filipino. Punong Guro Dowd is the first and only non-Filipino to be taught the art of Arnis Balite and was Pundador Aguillon last student who was given permission to teach

the art. It is hoped that one of Pundador Aguillon grandchildren will take interest in their grandfa-thers art, at that time Punong Guro Dowd will pass on the teachings

and the art back into the family. The only thing Punong Guro Dowd has in writing is a let-ter from Pundador Aguillon’s son and daughters, that he is the repre-sentative for their family’s art.

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