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ThU U one of the many double stick drills Sln.iwnlll used In Kail. In the drill you make contact on the stick hut In actual combat you would try to hit the hand Instead. The lO movement should be done In less than 4 seconds. When don - right it ts exciting to watch. Slnawalll drills can be done on the ground as well as standing. Whether onif tyle o fighting K better t another depends on the opponent's tactics and the situation. You may like to fight long range, but if your opponent a close in...
Attacker
3. 2-1 stick amp 12 -.tick 4 24 stick amp 12 The attacker nay also want to employ kicks 9. sword dagger 9 lO 2 swords 10 i 1 sword amp dagger I 1 14 I dagger 14 15. 2 daggers lf gt . 2 swords sword amp dagger sword dagger 2 swords f gt Inch tick Two 5 inch sticks A two-man exercis - to develop the flow can be done by cutting all the movements down to one-quarter or one half speed The first man delivers a strike and the second man blocks or deflects it Without stopping his notion. the second man...
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Dc Cadena is considered by some escrtmadocs as a fourth stage oI training The first stage is Huego y Reorada ot hit and run The second stage 19 Abecedorto. which amounts to blocking first, then hitting The third stage. Alto y Baho. is characterized by high and low hitting, some of which may be light movements to set up more damaging hit Alto y Baho can be performed with or without blocking Dc Cadena H an exercise where the oppo nent deb vers a continuous series chain of medium or slow motion...
Number 2
Slip and follow IB up on one of ' these routes NUMBER 2 STRIKE slip to left, parry with simultaneous right body blow Slip and follow IB up on one of ' these routes STRIKE outside sweep with right hand left hand check to right body blow More often than not an escrimador will have only himself to practice with The woods re a good gt lace for solo practice. You can work a the blocks and counters agai st tree branches, selecting one or two to develop counters for a particular angle or walking along...
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In training, to avoid Injury students at Danny Inosanto's school first make contact on the opponent's weapon. They then make several counterstrikes to the opponent's arm or hand to empha-.i e removal of hi-, weapon. The seqiit-nce of nuivciivni', un tin example below s one common Jy found in t gt gt e De Fondo system. The same motions combattvclv would look more hke the following sequence These series of movements, when done properly, will take less than 7 10 of a . lt oml
Disarms 1
The beauty of the Filipino arts lic-H In th freedom for creativity. This technique is similar to the disarm on the previous page, hut the opponent Is encouraged to counter. He does so by quickly suitching hands and striking to the head. This Interchange con tinues with both parties gaining knowledge. The end result Is not a technique or a counter but a working solution. Remember, all defensive moves are only the- first half of a total move F.aeh defense r. as the nitiation of the counterattack...
Disarms
Disarms work better after an initial strike Disarms work better after an initial strike Cheek weaponed hand and strike 1C . Disarm ID . IE . Use attackers weapon 1 G .
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Locks and disarms, also categorized as re talnlng checks, are as numerous and continuous as blocks and hits A lock or disarm may occur at any time in combat when the opponent's weapon has been slowed or halted. Instead of showing all the locks and disarms possible, I'll try to explain the principle of both and let you experirner t on your own A lock occurs when the opponent ts Immobilized by placing a fulcrum across one of his Joints, causing pressure In a direction that the Joint isn't...
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Palm up slides with wing block deflection Palm up slides with wing block deflection
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A sustained pushing check may also be used to jam the opponent's arm. stopping his strike before it begins. This is quick pat or .1 sustained push, usually with enough energy to send the opponent's arm a way from the patting hand, giving the fighter the time and clearance he needs to deliver a strike. Important to check before he strikes The alive hand delivers a quick beat on the energy that deflect r. off ihe opponent's arm opponent's arm to check or lower It. then and into the hit The pat...
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The following examples demonstrate the location of the opening line and the use of the alive hand in several .tuatjon-. Remember, the follow-ups or counterstnkes may be sngle or multiple but should follow r'mmediafeJy IB Generally, the al.ve hand dartsout through the fighter's own opening nr That means, through the area from which the fighter's defensive arm is traveling. Safety factor chock always follows deflections Sometimes the alive hand will actually come Into play before the weaponed...
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Outside direct hit to the wrist. Why block when you can Sometimes a thrust comes too suddenly to move the body or execute .1 conventional block or dofle lt tion against the bulk of the op ThU should take about 4 I 0 of a secoisi ponent's weapon. In this case, deflect the tip of the opponent's weapon with a quick flick. then counter. You may use your free hand to hold his arm in place while you counterstrike. If a good esorlmador were asked lo point out the inglemost important aspect that makes...
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Any thrust or upward swing to the center-line. such as a number five or a number twelve. may be deflected to either side of the body with a sweep or a wing. Because the centerlme thrusts are quick and direct. special emphasis should be given to angling the body in the opposite direction of the defense a a double safety.
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The main consideration here is that the fighter get his head out of the way He must angle his head off the reverberation line unless he's certain that his block will have enough force to completely overpower the opponent's strike A step to the direction of the fighter's own weapon hand to the rkjht In the pictures above wi odd an extra safety factor. Like all defenses, the roof block may occur a various levels to accommodate different attacks. The umbrella begins cxactly llke the roof block but...
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Reverse sweeps curve forward info the opponent's hand Instead of toward the tip of h s weapon. They are more difficult to pull off, bul when done properly provide a near simultaneous defense deflection or block and hil Below are some examples.
t t
Exercise for developing a flexible and strong wrist for fan motion . BastcaDy. there are foui striking motions that may occur In any attack 2 i hc shortened arc or stemless Wow that l pulled inward halfway through the swing 3. The rap which is a blow that returns along the same path thai t went out A stnke should be less than 2 lOths of a second.
The Shortened Arc
The shortened arc is probably the most common and yet versatile stroke in combat It begins much like the stemmed blow but as It continues the arm Is puBed inward so that just past the intended impact, the arm and th -weapon ieturn lo the body. Tills stemless blow serves two purposes 1 it offers less of your weapon or arm to the opponent as a tar get for his defensive moves, and 2 It in creases the speed of the stroke Velocity m the shortened arc blow Is achieved much the same way a figure...
The Rap
Sometimes a short rap with the stick is .v. that's needed to disarm an opponent or inter rupt his attack The rap Is an arced blow that hits its target and bounces back along the same line it went out. It Is usually a short, snappy blow that is seldom extended far from the body. The main thing to remember is to keep the retractx n. the returning motion of the rap. open ended Thai means. giee if the freedom to flow into a second tlnke or to whip around to hit on another plant' The example below...
The Thrust
There ore two kinds of energy that go into a thrusting motion The first is much like a jab with the end of the weapon. With the jab. equal emphasis Is given to the striking and retracting motions The motion of the Jabbing thrust is much like that of the rap where the retraction flows directly Into the next strike which Is usuallv an arcing one. Multiple jabs are possible, however. The second kind of energy is more of a stab that suggests a weapon with a pointed tip such as a sword or dagger The...
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As a double hit When B attempts .1 num ber two strike. A meets the attack with another 'number two strike, hitting his opponent on the hand. Without -topping hi-, motion. A uses his free hand to lower the opponent's weaponcd arm whik curving his own weapon into a thrust to the throat Try a combination of a shortened arc and a thrust with each of the 12 angles A helpful hint is to keep the weapon pointed inward, toward the target, and let the hand make the arcing motion to drive t home The end...
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If he were thrusting at us from this angle, he might turn his feel to be more comfortable and bend his knees so he would be less rigid. Basically, that's all there Is. Keep your knees bent to retain that flexible readiness and keep one foot slightly out and to the rear to act a the supporting point of your triangle while giving you support on either side as well Bruce I ee taught Danny to keep the rear heel raised whenever possible to make belter use of that leg's thrusting capabll t r Notice...
Defensive Footwork
Defensive footwork is a bit more complicated since it's related more to the force and angle of the oncoming attack. There are several ways you can move in relation to an oncoming force If you have time you can move out of .Is reach entirely If you know approximately where the strike is coming from, you can move into it and stop it or deflect It before it picks up momentum. If you are caught too suddenly to avoid the blow entirely, you can ride with it while deflecting It slightly or. given a...
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One of the safest places to move is along the d line t gt what B lt n l.argusa and the Kali people refer to a the zero pressure area This placer, you .it the end of the arc where the opponent's shoulder has neared its rnaxi mum extension and the force of his swing has diminished to nothing This route also gives you extra time because il is the shortest d.t. tance to the end of his longer. arcing motion and zones you away from his rear hand. The a line in this case would be the leas favorable...
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The readjustment or replacement is used to regain your basic foundation for a stnke after you've stepped off for defensive reasons or to gain better positioning A replacement may occur at any time when you need to readjust your footing to deliver a strong strike and when you have the time to do so Gener ally, however, tin- stepoff take . place during the Initial defensive move and the replace merit occurs just prior to or while you are delivering your counterstrike. The lllustratlor-.s below...
Body Angling
Body angling I used as a complement to your footwork or when you don't have time to step Inclining your body in the direction you are stepping just prior to your step a ds the actual footwork by gettin lt j you there faster. The same kind of incline may be used when you don't have time to actually step If you use the two together, body angle into the step, you will always have the maximum amount of body evasion that the circum stance allows. When using footwork, you generally choose one of...
The Tuck
Most body angling inclines the upper torso in one direction or another The tuck is an evasive motion that leaves the upper torso where it is or inclines it slightly forward as the stomach is pulled back When performed on the edge of the movement plane against a horizontal strike or thrust to the midsection, it still leave'- the Fscrimador within range to cou nterstrike The main keynote in all defensive move-adaptab ify. After learning some of the basic defenses. y u may become partial to one...
Meet And Follows
Meets and follows are the most basic defen sive moves in Escrima and Kali against the arced attacks They are both defensive .md offensive in that they strike the arm or hand that ivleldz the opponent's wrapon it the midst of its attacking motion. In their most Uisic use. they occur when the defender evades his opponent's weapon by footwork or body angling or both During meets, the defender's sir.king motion and generally his body motion travel against tlu- attacker's sink-ing motion. During...
The Meet
The meet occurs when the fighter strikes directly into his opponent's movement plane. A more defined term is pass and meet because the hit s delivered .1 the attacker's arm and weapon pass by When the meet is thrown against a r ing or descending strike thrown at an angle, the fighters body generally moving in the opposite direction of the opponent's swing and somewhere outside of or beyond the movement plane Below are examples of long-range Largo M ano meets against the main 'angled strikes,...
The Follow
The follow occurs when the fighter's weapon overtake - the opponent's strike at a slight angle to hit or cut the trailing side of the opponent's arm or hand When the follow is thrown against a riv tig or descending stnke thrown at an angle, the fighter's body simply takes the fastest route out of the movement plane of the opponent's swing Below ate examples of long-range argo Mono follows against the main angled strikes.
Blocks And Deflections
There s sometimes a very fine Ut e between what Is a block and what is a deflection Defined, a block occurs when the opponent's strike s met force against force and stopped It is a movement that hits directly into the movement plane of the opponent's strike The Illustrations below show how a block with a heavier weapon may stop tr-.e opponent's strike completely, even bounce it back slightly. A Wock h iesi when carrying a weapon heavier titan that of the opponent's. The timing on a block Is...
Reverberation I Ines
When blocking or deflecting a blow, especially with a lighter weapon, part of the force of the blow will transfer to your weapon When blocking, this means that you weapon will bounce straight back or n-vcrbcrat from your opponent's weapon Likewise, when deflecting .1 blow, your weapon will bounce off at an angle An important thing to remember whl angling your body and positioning yoi weapon for a block or deflection is to sta dear of the reverberation bne. As you lear more -.pv lt - fk blocks...
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For now. we'll call all the blocks and deflections simply defenses. because in Escrima whether a defensive move is a block ot a deflection often depends on how the force of the strike reacts If t stops cold or bounces straight back it was blocked. If it continues to move forward but the defense causes it to veer off slightly, then it was deflected and often the Escrimador himself doesn't know which it will be until he actually feels the force of the strike. For the sake of organization, we'll...
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COMPARE THESF TECHNIQUES. NOTICE THE SIMILARITIES. HOW MANY MOVLMILNTS CAN BE ELIMINATE Those photos illustrate the brginnlnfl of a knife fight, thi backbone of the Filipino martial ar s In such a fight your entire body 1 utilized, you can kick with either leg and strike with your free hand. The difference between life or death rests solely on your skill little wonder why the Filipino martial arts are so effective. Upon the request of the Publisher and lomi of the elderly LscrImadors. I have...
S Word Vs S Word
Compare these techniques. What do you notice Retaining check Safety restrike Rcstrike to head to hand to hand with safety check Safety hand smash Strike to head These technique uere utrd by the Filipino' o aln t the Japanese invoders. The United Stctes Marines u gt ere coiled 'Teather necks' because they u gt ere Jorced to wear protecUue neck catering. to cut doun on the Im-nten.se casualties, uhen they faugh t utth the Filipinos.
Stick Vs Staff
This series should take 5 10 of a second Compare these techniques. What do you notice Left hand safety check Strife - to head Left hand safety check Strife - to head The beauty of the Filipino martial art or any highly evolved martial art 1 he simplicity In lt usage. ThU book ha hopefully liberated you from the cU lcal approach to u ejipovwy. Do not think In terms of Nunchaku canrci, Sal block . or Bo striking method . Think Totality Compare and ee for yourself that no matter what weapon you...
Martial Arts
AU rtgfoN rcwrvrd uncW lnt m of i J An i n Copyright CV gt v r gt Of 4 uK5 gt i m ch llfl d MA . hv No p xt o4 K cnounn o4 lh a h ofc m y h rrprodt c lt xJ Vhoul If Ttlwn jwrfnnWor MiouWtu gt a m th Sw 4 Anwf ijbrary of CoryvM Ulog Conf No tSBN 0 3 676-01 gt KN W NOW PUBLISHING COMPANY 3932 So. Hill St Los Angeles. CA 90037 The spirit of the Southern Philippines epitomizes xne unconquerable spirit of the Philippine Islands Men of a I creeds and colors have scrambled for a foothold in the...
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One of the biggest change in martial arts today Is the jwttchovo from traditionalism to exploca don. Ten yv n ago. the mtiuct word wm law andih do a student could ratmlc lirt tntttuc-for' move , the better the student Today, fortunately, students are encouraged toone to eapkne beyond their b w- instruction and to tailor what they've learned to suit themselves Au the outlook of martial art changes. no changes the cope of mortal an hook . though book ate Inevitably behind Until recently, mwI...
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All systems regardless of their country's origin have their beauty with their good points as well as their bad points. All of them have the capability to let the practitioner grow physically, mentally, emotionally and spiritually using the Martial Arts as vehicle to grow by This is In my opinion the martial art's greatest gift The system or style or vehicle you choose to grow by matter only If you grow. Bruce Lee. my Instructor In Jeet Kune Do. influenced me to appreciate all styles without...
Mastek Pedro Apilado
th lop f jhU-rx . r d hc d rrrt in rhc Hawar. n Iv.Nnd n thc days -vhon c rim.s slkfc ffgta lt a rmielwt wer full COnlKl C xnpi'tihon wtrhout thc aM o Armo 1 wat a brutal ar then And ooly Ove .wvj ltf-.l Artel tironee- tuxvived c lt rcm.v-icd in ptactlcc Ma-zu Apilado wat r'. lurwite to Ivav CrAlncd ur gt der Ihc grcat S nr.v o Toledo And K wn Pedro Toledo In thc P.ingAiirvAn Prov cc of Ihtf PKiipp.nc. Santiago wa thc Flr t CKftinpiOH O thc Northern Ph i gt j r gt ei who r m SfX lt 1 undefeated...
L1ua Inosanto
Arry CVmbo Cao v gt te l mou4 Un lt ki Th C r rt B o lt h r K ve .jlvcn me ihd tasptr4llon lo fuilKwr rr j gt 9CK tHr Flbptoo Matul Art Arry CVmbo Cao v gt te l mou4 Un lt ki Th C r rt B o lt h r K ve .jlvcn me ihd tasptr4llon lo fuilKwr rr j gt 9CK tHr Flbptoo Matul Art
Mastek Angel Cab Ales
I fee -Sat Master Cabales. more than ny gt h ri. 1 nr x gt iHiMtf lor he emergence of Lscrlma in the CJruted S jir.i l y lamUlafUuvg me with the twelve ways of attack and the many defences lor each, he ha provided me with the bulk of my escrtma bdwet I consider him highly effective with the hfiri tick 21 to 24 inches in length and very adept in close range lighting He's a true master oi the physical art and a man vuth a wealth of knowledge
Masti H I I Ogikon
Master Ciiroo taught me the combative u e of escrtma a n l with the long stick and live Largo Mano blade His environmental tra.rung showed me the use o4 escrima tn dtfferent real ituationt and his Invaluable perspective and personal knowledge lias given more to my ait as a whole than I could ever repay. I arn constantly learning from Mailer Giron It is from him that I learned to use my basic Eacnma for co nbat I was granted permission to teach his method in December 1973 Abie with the seek,...
Master Ben Largusa
I consider Master Ben Largusa o be IK nvosi ll-around FUipino martial next to Grand Matter Fkxo Vdlabrite. and through Master l.argusa I have reataed the brilliant mind and skill of Master VilabrtB . Master Largusa has taught me th thtfor and appteatfow oi the various weapons and empty hand technique of kali and convinced me that lb ancicr.t skill is a complete. unkjue scH defense art that gees beyond the sword and stkfc
Master Brau 110 Pedoy
Through Master Pedoy I became m awcie c lt the hbtavv of the F jnu GUKO NAKKII. BABAO Narrte Boboo, an Amis practitioner in San Diego, hoVU lhe Hie i chamjXon la the ftrei weapons sfs amp rrlng tournament he A r. the United States. Usa gt g two rat Un tikki. he fought and debated con totantt u ing nunchakv. bo end shlrvst Hfc son Krb n ny God-Son.
A
Concentrate on the overhead motion and vou will have your basic overhand strike Concentrate on the descending backhand motion and you will have your bask backhand strike. Reverse your motion to practice your upward strokes. The upward strokes will give you your number nine and ten angled strikes and slight variations on either the descending or ascend Ing strokes will give you your vertical strikes, up and down. Now elongate the motion so that the arcs on either ode of you are smaller and the...
Variations
An important point to remember is that the numbers given In the previous illustrations are for training purposes. If you are delivering strikes to a training partner, the numbers give you a way to remember all the more common angles that occur in combat They do not necessarily follow each other in order although a backhand strike usually follows an overhand or underhand strike and vice versa body dynamics. A good example of the variations possible in the basic pattern is the ei. ef of the angle...
Info Uov
They Illustrate the Inside direct hit to the hand. When you get to the root of a technique. It doesn't matter what the hand In holding. The theory In Kail U to hit the hand Jo that It can't hold the weapon. If you take the fang from the snake, the snake 1 harmless Take the weapon from your opponent and he ft harmless The old Filipino saying la Take the fang and you control the body. The main principle In the Filipino martial art In Hit rather than block whenever possible This Is the test of a...
L
Jump chool at fort Campbell in-troduced Dan to Karate via Hank Slomunsky In I960. Slomansky uoa later to be killed on duty In Viet Nam. Thlm Ittu t il Parker'n 1965 Kcnpu Kurule team after a tournament In Soft take City. Bob Coofc left wot the ' ram Champion. Steve Sunder right u i the uhlte belt champion. Steix u ll luter gain International recognition a one of the founder nf the Muck Kutate Federal inn BKF . Jump chool at fort Campbell in-troduced Dan to Karate via Hank Slomunsky In I960....
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i- u iiiivwii j u uiwtn and the force is too great to stop, the defense should curve off naturally Into a deflection. The Illustrations below show the same outside defense against a number two strike. iiiv in uvrifiiM'. execuieu wnn a neavier weapon, blocks the opponent's strike. The second defense, executed with a lighter weapon, starts out as a block then slides back as a deflection.
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Remember defense are strikes, strikes are defenses, and the most valuable element when learning to use them is your own creativity. F.wr,rnadort claim the ability to pick up any Kond wielded weapon, regardlcw ol Its shape, and uw it effectively. To someone un-fam amp ar wth Escrtma pnnopk that sounds presumptuous. but consider the pattern of angSe again There's only SO many ways fo hit an opponent If you're already familiar with one or more weapons, all the better Swing the weapon, jab the...