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DAMAG-INC Kali Combatives
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Mon, 27 Nov 2006
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| Houston Stick Fighting Association's 1st quarterly gathering was a success! |
The Houston Stick Fighting Association led by
Johnathan Bolton held their 1st combative meet
among FMA and other MA weapons-based players
earlier today, Sunday the 26th beginning at around
10 am.
At the gathering, there were instructors from the
various FMA schools throughout Houston with their
students. Isias Ginson showed up and officiated
most of the matches. Then there was Ed Kwan, an
IMAF FMA guy from Clearlake who came to watch. Leo
Quitalon with his LESKAS/Lighting Escrima crew
from Sugarland was also there to play along. There
was also some ARMA[Assoc. Rennaisance M A]
players, and even some kendo players all in good
fun under the sun of one beautiful day.
Bill Little and his training partner, Mike Wise
drove in from Beaumont and picked me up this
morning from Tomball right at one hour prior to
the scheduled time to meet at the park. It turned
out we were the first ones there. I'm gratefully
happy to make some new friends and in re-
acquainting with old friends that showed up to
extend their support. Thanks to my old pal,
Joaquin Rendon and (others with him) for handling
the video camera during the matches.
This day marked the beginning of strong potential
for all stick-based MA weapons practitioners
beginning in the Greater Houston area alone to be
unified under the sun to share support for each
other in a form of "friendly exchanges" of skills
with no egos, prizes or politics. All of us turned
out to be great sports with each other. I know for
sure I acknowledged all the hits I took from every
sparring partner I traded blows with. In fact, I
myself actually enjoyed getting hit just to
encourage my sparring partner at the time to keep
at it til I throw some back.
We also had matches with the smakstix/actionflex
padded sticks with the helmet on. Those things
were created perfectly if you did not want to be
seriously hurt. We didn't even need any gloves to
protect from the handshots because the sticks were
very soft. I was letting myself get hit as hard
and as often just to test if a person can get hurt
by one of those things during a match with the
smakstix with Manong Joe Galleon... and man, he
loved to bang for a man over 60 years of age!
There was also dagger duel simulation &
espada y
daga matches with catchers chest guards on, and
then we
went to the live stick where we wore the WEKAF
protective vest. I personally do not really care
much for the WEKAF vests but I put it on anyway
and still had a great time. I got to have fun
letting myself get hit hard to see if their heavy
shots would actually penetrate through the armor,
while holding the stick in my weaker hand[I'm a
lefty] but we sparred with lighter, thinner rattan
sticks though. The last thing we needed that day
was for anyone to get seriously injured. I did get
to be the only one wearing my fencing mask as
everyone else wore the Doce Pares, Canete cage
helmets.
My last match was against a long wooden sword made
of some really really hard wood versus my double
sticks. During the beginning of the match, I went
ahead and took some of those hits since I was up
to feeling a little pain that day, and since it
was a heavy weapon, those were some really heavy
hits! I even took a thrust from the tip of the
wooden sword on my lower bicep and it did not take
much to feel that. I recieved a slight knot from
that too. I just knew I hit home when I got inside
of the long range of the sword and opened up my
own little flurry of shots on the armor and mask.
Either way, in the end my new sword fighting
friend Jay, expressed a strong desire to learn
FMA. I assured him it will boost his sword game to
even greater heights. I do wish him well with it
and look forward to seeing his game get better at
the next meet.
Thanks most of all to Johnathan
Bolton once again for organizing a successful
gathering along with Manong Joe Galleon. Thanks
also to Bill Little for picking me up.
I made many
new friends and even stronger re-acquaintances
that day and I'm very happy.
Can you dig it?
Daniel
|
Posted 01:06
1 comment | Post a comment
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Thu, 26 Oct 2006
|
| Filipino Martial Arts Glossary of terms |
Source:
http://fcskali.tripod.com/id11.html
A
Abang.....to wait defensively
Abanico......fan; also spelled "abaniko"
Abanico sa Itaas.....upper flywheel
Abecedario....."ABC's"; the basics
Abierta.....open position
Agaw.....to grab, seize, disarm or take away
Agaw-Sandata.....disarming & retrieval of the
weapon
Aldabis.....diagonal cut, strike or uppercut
Alpabeto.....alphabet; the basics
Anim.....six
Anino.....shadow
Antas.....level or degree
Antaw.....long range
Apat.....four
Araw.....sun or day
Arnis.....harness; northern philippine martial
art
Arnisador.....stick fighter
Arnis de Mano....."Armor of the Hand"; system
Atras.....retreat or backward
Avante.....forward
B
Babag.....worry; trouble
Bago.....new or before
Bagong-Pasok.....entry level student
Bagsak.....to drop; overhead strike with down
weighing
Baguhan.....beginner
Bahi.....a Philipine hardwood used for sticks
Baitang.....level or stages
Bakbakan.....a rumble or free-for-all fight
Balaraw.....dagger
Baligtad.....reverse or inside out
Bali.....break
Balik.....return or retreat
Balisong....."butterfly knife"
Balitok.....tumble
Banatan.....full-contact fighting
Bansay-bansay.....training or drills
Bantay.....guard or watch
Bantay-Kamay.....support or "alive" hand
Bara-bara.....wild or formless technique
Baraw.....dagger
Bartikal.....vertical cut/strike
Basag.....broken
Baston.....stick
Bati-Bati.....using the butt of the stick
Batikan.....noteworthy; certified expert
Baywang.....the hip
Bigay.....to give
Bigay-bali.....lock release technique
Bigay-galang.....salutation
Bihasa.....expert
Binahagi.....cut into parts
Binali.....break or reverse
Bisig.....the arm
Bothan.....Martial Arts school
Braso.....the arm
Buah.....combination of footwork and form;
application of technique
Buhat.....from or lift
Buhat Araw.....an overhead strike
Bukas.....open position
Buklis.....upward figure 8
Bulusok.....powerful overhead or diagonal
strike
Buno.....takedown or throws
Bunot.....to draw a sword; to pluck out
Bunot Kaluban.....an upward slash followed by a
downward slash; a drawing and slashing technique
C
Caballero....techniques from Grandmaster
Caballero
Carera.....cycling movement or spin
Cadena de Mano.....chain of hands
Centro.....center
Centro Baston.....holding the stick in the middle
Cerrada.....close; closed fighting position
Cinco.....five
Cinco Teros....."5 strikes"
Contra.....counter
Contrada.....opposite or counter
Corto.....close range
Cruzada.....cross-block and strike
Crossada.....to cross
Cuatro.....four
D
Daga.....dagger or short stick
Dakop....to catch
Dakot.....to scoop
Dalawa.....two
Dalawampu.....twenty
Dalawampu't Isa.....twenty-one
Dalawang.....double
Dakip.....capture
Dakip-Diwa.....mind-set
Damdam.....feel or sensitivity
Damdam-Diwa.....sensitivity; being aware
de Cadena....."the chain"
de Cuerdas....."to chord"; system
Defundo.....stationary
Delikado.....dangerous
Depensa.....defense; person taking defensive role
in training
Dib-dib.....the chest
Diin.....to put pressure on
Dikitan.....very close or close quarters
Diwa.....mind
Djuru.....form
Doble.....double
Doble Baston.....double stick training
Doblete.....double or repeat
Doce Pares....."12 pairs or 12 strikes";
system
Dos.....two
Dos Labahas.....two blades
Dos Manos.....two hands
Dos Manos Largos.....two hands with long stick
Dukop.....to catch
Dukot.....to snatch or seize unexpectedly
Dukot.....to reach out
Dulo.....the tip of the stick
Dumog.....filipino grappling art
Dungab.....to strike with the fist
Dungab....."heaven" or "hammer" grip
Duslak.....thrust
E
Elastico....."rubber band art"; system
Enganyo.....fake or feint
Entrada.....entry
Equis....."X" or "X" shaped strike
Eskrima....."skirmish"; filipino martial art
Eskrimador.....stick fighter
Espada.....sword or long stick
Espada y Daga.....sword & dagger or long & short
stick
Estrilla.....star
F
No terms found.
G
Galang.....respect
Galing.....skillfull
Gantihan.....exchange of blows
Garote.....stick; usually flat to simulate a
blade
Garote'ng.....itak flat stick
Gitna.....center
Gunting....."scissors" or passing block with a
limb destruction
Guro.....teacher
H
Habang.....while; in the meantime
Hagad-Hubad.....strikes & counters
Hagis.....to throw; a throwing technique
Hagibis......whirlwind; throwing & grappling
techniques
Hakbang.....to step; footwork
Hakbang-Paiwas.....full side step/step to avoid
strike
Halo-Halo.....combination; free flow sparring
Hanay.....row or line
Han-ay.....form
Handa....."Get ready !"
Hapos.....strike or slash
Hapsanay.....free sparring
Hatak.....to pull
Hataw.....a full power strike
Hawak.....to hold
Hawak-Gitna.....holding the stick in the
middle
Hawak-Pakal.....reverse or ice-pick grip
Hawak-Punyo.....regular hold on weapon with
punyo
Hawak-Sagad.....regular grip with no punyo
Hawak-Saksak.....regular or hammer grip
Hawak-Sandata.....methods of holding a weapon
Hawak-Susi.....reverse grip; holding at tip of
stick
Higot.....to tie
Hindi.....no or negative
Hintay.....wait or pause
Hiwa.....to slash or cut
Hubad.....to untie or undress; name of a flow
drill
Hulagpos.....to escape from capture or
restraint
I
Ibaba.....down or below
Ibabaw.....above or on-top
Ikot.....turn or about-face
Ikot-Hantaw.....spinning strike
Ilag.....to evade
Ilalim.....under or underneath
Ilustrisimo.....techniques from Grandmaster
Anotio Ilustrisimo
Insayo'ng.....training
Ipit.....to lock, trap or jam
Ipit-Hagis.....a sacrifice throwing technique
Isang.....single
Itaas.....above, upper or to the front
Itak.....long sword or bolo
Isa.....one
Isa-pa.....once more; again; one more time
Iwas.....to avoid, dodge or duck
J
Juego Todo.....anything goes or free-for-all
fight
K
Kaayusan.....order or organization
Kabakas.....partner or assistant
Kadena.....chain or series of movements
Kadyot.....a shallow, snap thrust
Kalahati.....half
Kalas.....disengage, release or disarm
Kalas-Sandata.....disarming technique
Kalasag.....to shield
Kali.....a southern Philippine martial art
Kalis.....oldest of the Philippino style kris
swords; wavey back half, straight front half
Kaliwa.....left side
Kamagoong.....Philipine iron wood
Kamay.....the hand
Kamayan.....empty-hand training
Kamot.....to punch; hand
Kanan.....right side
Kapatid.....brother
Kasa.....to cock or chamber; to accept a
challenge
Kasama.....companion/friends
Karunungan.....knowledge
Katapatan.....loyalty
Katawan.....body or torso
Katipunan.....organization, association or
brotherhood
Kenkoy.....derogatory term used for unrealistic
or impractical styles of fighting
Kilat....."Lightning Blow"
Kilos.....movement
Kilos-Paa.....footwork
Kina-Iya.....natural
Kris.....serpentine blade knife or sword
Kunsi.....grappling techniques
Kuntao....."fist way"; system
L
Labaha.....blade
Labahas.....blades
Laban.....to fight
Laban-Handa.....ready-stance
Laban-Laro.....combat drills or "play fights"
Labanang.....to fight
Labanang-Dikitan.....close quarters combat
Labanang-Malapitan.....medium range combat
Labanang-Malayuan.....long range combat
Laban-Paluan.....free-fighting
Laban-Sanay.....combat-skills training
Labas.....the outside
Labing-Isa.....eleven
Labo-labo.....anything-goes fight
La Contra.....to meet a strike
Lakan.....an instructor rank equivalent to black
belt
Langka.....footwork
Lansi.....to confuse or misdirect
Lansing-Tadyak.....spinning thrust kick
Lansing-Sikad.....spinning snap kick
Largo.....long
Largo Mano.....long range
Largos.....long
Laro.....to play
Laro-laro.....give and take drills or
training
Larong.....to play
La Seguida.....to follow a strike
Laslas.....to cut to shreds
Lastiko.....a style of arnis that emphasizes
bobbing & weaving toavoid strikes
Lengua de Fuego.....a fast series of thrust &
slash techniques
Lihim.....secret
Lihis.....to the side or side-step
Likos.....twirl
Lima.....five
Liyad.....to lean away
Lock & Block.....training drill from Serrada
Eskrima
Loob.....the inside
Lubud.....to blend
Luma.....old
Lusob.....attack or partner taking offensive role
in the training
Lutangto.....float; the unique forward and
backward footwork of the Ilustrisimo system
M
Mabilis.....fast or speedy
Magaling.....highly skilled
Magisa.....alone
Mag-Olisi.....one who practices stick-
fighting
Magulang.....parents; shrewd or sly
Mahina.....weak or of poor skills
Maharlika.....noble or nobility
Mahusay.....skillful
Malakas.....strong, powerful or influential
Malapitan.....near or close
Malayuan.....far or distant
Mandirigma.....warrior
Mano.....hand
Mano y Mano.....hand to hand
Marami.....many or numerous
Maraming Salamat Po....."Many thanks"
Marunong.....knowledgeable
Masipag.....earnest or hard working
Masugid.....dedicated or loyal
Matibay.....strong, durable or lasting
Matira.....to be left or to be the last
Matira Matibay.....Survival of the Fittest
Matulis.....sharply pointed; a style of bolo
Mayto.....have
May-Alam.....to posses the seeds of knowledge
Medio.....medium range
Meteorica.....meteoric strike from Grandmaster
Caballero
Mukha.....the face
Muli.....again or one more time
N
Nakahanda.....ready
Naka-Upo.....seated
Nakaw.....to steal
Ng.....of
O
Olisi.....stick
Olisi-hay.....sparring with sticks
Opo.....respectful form of saying "yes"
Oracion.....a prayer for protection
Ordabis.....backhand strike
P
Paa.....foot
Paayon.....going with the force
Paawas.....to parry
Pababa.....downward
Pag-Galang.....salutation or show of respect
Pagsasanay.....training
Pagsilang.....birth or sunrise
Pagsisisi.....atonement or repentance
Pahimsug.....exercises or calisthenics
Pahisa.....a slashing motion
Paikot.....rotate
Paikot.....circular strike
Paiwas.....to avoid
Pakal....."ice pick" grip
Palad.....palm of the hand
Palakas.....strengthening
Palakas-Pulso.....wrist-strengthening
exercises
Palis.....sweep or sweeping parry
Palis-Patid.....a sweeping throw
Palisut.....to scoop
Palisut-sut.....skipping strike
Palit.....change or exchange
Palit-Kamay.....change or exchange grip
Palitan.....alternating
Palo.....to strike
Paluan.....exchange of strikes
Palusut.....to pass through; technique of evading
and passing through
Pama-a.....footwork
Panabas.....ax style weapon
Pananandata.....study of the weapons of the
Philippines
Panastas.....to slash
Panata.....a devotion
Pangamot.....empty-hand defense
Pangandam.....on-guard or ready position
Pang-Ikyas evasion or dodge
Pangilog.....disarming
Pang-Olisi.....stick fighting
Pang-Ubot.....hold or grip
Panibago.....new or a revival
Pani-il.....footwork
Panimban.....balance
Panipis.....to skim or cut thinly
Panukad.....fighting stance
Parusa.....punishment
Pasada de Contra.....pass and hit
Pasok.....to enter, inside or on target
Pasulong.....forward
Pasungkit.....to thrust upward
Pataas.....upward
Patalim.....dagger or blade weapon
Patalon.....jumping or multi-level strikes
Patibong.....to trap
Patid.....to trip
Patusok.....in a thrusting motion
Paulit-ulit.....repetitive
Pa-upo.....half side step/sitting down
Pauyon.....go-with-the force technique
Payong.....umbrella
Payong sa Itaas.....upper umbrella block
Pekiti.....close range
Piga.....to squeeze or wring
Piglas.....to struggle or resist
Pikon.....one who is easily upset
Piktos.....a snap strike
Pilay.....sprain or dislocation; lame or crippled
at the legs
Pinahandog.....diagonal downward strike
Pinatag.....horizontal strike
Pinasaka.....diagonal upward strike
Pinasaka Tuhod.....rising knee strike
Pinatindog.....vertical downward strike
Pingga.....a long staff fighting system
Pinid.....closed position
Pintok.....a wrist snap strike
Pinuti.....long Visayan sword
Pito.....seven
Planchada.....a horizontal strike
Plansada.....horizontal cut/strike
Pluma.....pen
Po.....a suffix denoting respect
Prakcion.....to react faster than the
opponent
Pukpok.....to hammer or pummel
Pulso.....pulse or wrist
Puluhan.....handle or butt
Punong Guro.....head teacher & founder of
system
Punyo.....butt of stick or any weapon
Q
No terms found.
R
Redonda.....continuous double stick technique
Redondo.....circular power strike
Retirada.....to retreat
Rompida.....an upward and downward slash
Ronda.....circular movement of the hands or
weapon
Ropillon.....a double stick technique or movement
S
Sa.....to or of
Sabayan.....Simultaneous; to attack or counter at
the same time
Sablay.....Incomplete or imperfect; a low right
to left horizontal.....blow
Saboy.....to throw or scatter; an upward right to
left diagonal strike
Sadang.....reverse position
Sagang.....defense
Sagasa.....to charge or to overrun
Sakay.....to ride or go with the force
Sakay-Salag.....eskrima sticky hands; to follow
the motion of the blocked/ checked weapon or
attack
Sakong.....heel
Sakong-Palad.....palm-heel
Saksak.....to thrust
Sasak Hatak.....a technique using fast withdrawal
and twisting of the weapon to inflict a cut on
the opponents checking or blocking hand
Salag.....block or parry
Salagba.....downward block
Salagbas.....outside dodging and parrying
Salag-Bisig.....forearm block
Salagsok.....inside dodging and parrying
Salagtas.....upward block
Salakay.....to charge or attack
Salamat.....to thank
Salamin.....mirror or reaction drill
Salisi.....opposing or opposite direction
Salok.....an upward strike with the edge or
point
Saltik.....a snap strike
Salubong.....to meet head-on
Sama.....to join or go with
Sambut.....combination of footwork & form
application of technique
Sampu.....ten
Sanay.....training or exposure
Sandata.....weapon
Sangga.....to block
Saplet.....quick disarm
Sawali.....interwoven slats of wood use for
walls
Serada.....closed
Serrada.....close quarters or "closing"
Sibat.....staff
Sibog.....retreat or backward
Sikad.....side kick
Sikad-Gilid.....side snap kick
Sikad-Hataw.....snap roundhouse kick
Sikad-Sungkite.....snap hook kick
Sikad-Tusok.....front snap kick
Sikaran.....a Philippine martial art emphasizing
kicking skills
Siklod.....to kiss the hand of an elder; a wrist
lock
Siklod Bangga.....a wrist lock that uses the
shoulder as a leverage point
Sikmura.....solar plexus
Siko.....the elbow
Sikot.....push kick
Sikwat.....to pry; an upward strike with the
punyo
Sikwat-Siko.....a come-along lock with the
elbow
as the primary lock or center of pressure
Silat.....to outmaneuver or overpower; an
Indonesian martial art
Silak.....open-hand system used against a blade
(Sayoc Kali)
Sinawalli.....to weave; a continuous double stick
technique
Sinigurato.....make doubly sure; a follow-up
trapping or jamming technique (Lameco Eskrima)
Sipa.....to kick; also a game
Sipalit.....a training drill for alternating
kicks
Sipang-Hataw.....roundhouse kick
Siyam.....nine
Sogo.....finger-tip thrust
Solo.....single
Songab.....finger jab
Songkiti.....a hooking movement used to parry or
thrust
Suklian.....an exchange of strikes
Suko.....to surrender or give-up
Sulod.....to enter
Sulong.....to go forward or go ahead
Suliwa.....pass or deflect
Sumbalik.....counter
Sumbrada.....upper umbrella block; name of a flow
drill
Sumpa.....a vow or oath
Sungkite.....a technique that emphasizes
thrusts
Sundot.....a jab or quick thrust
Suntok.....to punch
Suplete.....quick disarm
Suwag.....head-butt
Suyop.....a go with the force technique
T
Tabas Talahib.....a horizontal strike
Tabak-Toyok.....nunchaku
Tadtad.....full of or multiples of
Tadyak.....thrust kick
Tadyak-Gilid.....side thrust kick
Tadyak-Sakong.....back thrust kick
Tadyak-Tusok.....front thrust kick
Taga.....to strike or cut
Tagang Alanganin.....an outwards horizontal
strike aimed at the upper torso region
Tagang Buhat Araw.....an overhead strike aimed at
the top of the head
Tagang Pasumala.....primarily a parry, a sweeping
upward diagonal strike used to deflect a
weapon
Tagang San Miguel.....a diagonal downward and
inward strike aimed at the upper torso
Tagapagsanay.....trainer or assistant
instructor
Tagapagturo.....senior assistant instructor
Tala.....star
Talang Bartikal.....vertical block
Talas.....sharp or to sharpen
Talas Damdam.....sensitivity training
Tapa.....to step on the foot
Tapi.....to parry or deflect
Tapik.....to nudge, defelct or parry
Tapi-on.....to block, parry, defelct or check
Tapi-Tapi.....checking; a series of parries &
blocks
Tapos.....finished or the end
Tatlo.....three
Tatlumpu.....thirty
Tatlumpu't Isa.....thirty one
Tatsulok.....triangle
Taub.....facing downward
Tayo.....stance
Teka.....wait, halt or pause
Tiempo.....timing
Tigil.....stop or cease
Tigpas.....a horizontal strike directed at the
knees
Tihaya.....facing upward
Tiniklink.....footwork drill
Tisod.....to stumble
Totsada.....to thrust
Totsar.....to thrust
Trancada.....to lock or locks
Tuhod.....the knee
Tulisan.....the knife-fighting art of Kali
Illustrisimo
Tuloy-tuloy.....continuous
Tunga-tunga.....medium range
Tuo.....to the right
Tusok.....to thrust
Tuyok.....cycling movement or to spin
U
Ulo.....the head
Upo.....seat
V
No terms found.
W
Wala.....to the left; nothing; lost
Walis.....to sweep
Walo.....eight
Warwok.....a weapon hand capture that rebounds
the weapon into the attackers body
Witik.....wrist snap strike
X
No terms found.
Y
Yabag.....the sound of footsteps
Yabang.....show-off
Yakap.....hug, hold, embrace or clinch
Yantoc.....rattan stick
Yukbo.....salutation
Yuko.....to duck or bow
Z
No terms found.
|
Posted 05:02
No comments | Post a comment
|
Tue, 24 Oct 2006
|
| Written and published texts of the History and origins of the Filipino Martial Arts |
Background Of the Filipino Martial Arts
The Fighting arts of the Philippines are deeply
rooted in the history and culture of the Filipino
people. They are the products of a highly
developed civilization which flourished long
before the arrival of the West upon its shores,
and of centuries of warfare against a variety of
oppressors. Both these factors are responsible
for the highly technical and pragmatic outlook of
the Filipino martial arts.
The Maharlikas was the original name of the
Philippines before the coming of the Portuguese
and Spanish in the 15th and 16th centuries. The
general consensus among scholars is that the
first settlers in the Philippines were the
Negritos of prehistory. It is theorized that
these small dark-skinned people traveled by land
from Central Asia, perhaps via an ancient land
bridge. They brought with them the short bow and
later developed the long bow.
This process was followed by a series of Malay
migrations from what is today Southeast Asia and
the Indonesian Archipelago. The first of these
began before the birth of Christ. These taller
seafaring people brought with them the first
bladed weapons.
In the 5th and 6th centuries in Indonesia and
Malaysia a huge empire was formed due to the
migration of the Hindu tribes of India to Sumatra
and Java. The Srividjayan Empire, as it came to
be known, eventually spread as far as the
Philippines.
Their martial arts skills, advanced weaponry, and
superior organization made it possible for them
to conquer the earlier settlers. Some fled to
distant islands, others stayed and the two
cultures merged. The Srividjayans were the
ancestors of the Tagalogs, Ilocanos, Pampangos,
Visayans, and Bicolanos. The area of the Central
Philippines where these people first landed is
today known as the Visayan region. It is thought
by many Filipinos that the island of Panay, the
most western part of the Visayan Islands, was the
birthplace of Kali – as the Filipino martial arts
were known at that time. The Srividjayans brought
the influence of Hindu and Indonesian religion,
philosophy, arts, and combative forms to the
Philippines. They introduced laws (the famous
Code of Kalantaw), a calendar, written alphabet
(Sanskrit), new religion, and a system of weights
and measures. This new culture developed a social
unit called the barangay each independently
headed by a Datu (leader or chief). These were
the first to leave a written historical
record.
The next major incursion of foreign ideas and
culture occurred in the 12th and 13th centuries.
The Majapahit Empire of Indonesia, which eclipsed
the Srividjayan Empire spread throughout
Southeast Asia and into the Philippines. At its
height the Empire included areas that are today
Burma, Indonesia, Thailand, Malaysia, Cambodia,
the Philippines and Madagascar. Deeply influenced
by Moslem culture, the Majapahit brought Islam to
the Philippines where it settled most heavily in
the South. Today the Southern region of Mindanao
remains a Moslem stronghold, fiercely independent
and at war with the governing Christian majority.
By the 12th century thousands Chinese had
migrated to the Philippines following the
Manchurian invasion of China. They brought with
them the martial arts of the Tang Dynasty, which
came to be known as Kuntao throughout Southeast
Asia. The Chinese and their arts were assimilated
into the Island culture.
These diverse influences led to a highly
developed civilization, which existed before the
6th century until incursions from the West
starting in the 16th century. The Filipino’s
during this period were thought to be followers
of the God of Violence – Kali. The head of the
family unit was called the Kaliman. Each Kaliman
had a rank of status represented in his blade
known as the Kalis. There are at least 25
different types of blades in the Philippines,
although most estimates put the figure much
higher. Many of these bear signs of Hindu,
Indonesian, and Moslem influence. Blade designs
differed from region to region and sometimes from
village to village. The type and size of the
blade was a measure of the respect to be accorded
the individual Kaliman as well as an indicator of
his place of origin. The more well known types of
blade are the kampilan, the kris, the lahot,
utak, gunong, barong, and balasiong. The leader
of the barangay or of the region was said have
worn the shortest Kalis – the short length being
a symbol of his authority and fighting prowess.
This blade is known even today as the danganan.
Based upon his fighting prowess and other skills
the Kaliman was awarded a title of rank. In the
Visayan region the Datu headed the barangay and
above him was the Sultan who had authority over
the entire region. At one point it is thought
that there were three Sultanates – North in Luzon
region; Central in the Visayas; South in
Mindanao. It was, however the Tuhon or master
teacher who was often considered the most
important person in a particular region. The
Tuhon represented the repository of knowledge and
culture of a given area. The bothoan or central
communal school was headed by the Tuhon. It was
his responsibility to pass on the culture of the
Filipino civilization. These teachings grouped
under the name Kali, included philosophy,
religion, morality, healing, combative arts and
the written word. Long before Spanish rule, the
Filipino’s had developed their own system of
medicine, astronomy, engineering, as well as
written language and history. Most of these
writings were destroyed during the Spanish
conquest. Written and oral languages differed
according to region so that today there are over
300 major dialects in addition to Tagalog, the
national language.
The history, philosophy, and religious aspects of
kali, as an object of worship and kali, the
fighting arts were so closely interwoven that
they must be considered as a single entity.
Although Kali was the God of Violence and death,
the Filipinos considered it a peaceful god. The
Kaliman, spiritually through his philosophy and
physically through his training in the combative
arts of Kali confronted death as a part of daily
life. By this constant awareness of the presence
of death and his resolution to confront it, the
Kaliman is liberated from the weight of his fear
of death. In this confrontation with the darker
side of life the Kaliman comes to see things as
they really are, a view uncluttered by futile
dreams, hopes and false expectations. Further he
learned not to base his actions on the fear of
death, old age or sickness but to revel in the
moment. Only in the “now” can he see things
clearly and without judgment or bias.
Indeed, the ancient laws of Kali, known as the
code of Kalantiaw, contained 18 laws – the first
was “Thou shall not kill”. In all its phases –
philosophy, healing, the sciences, combat, the
written word, etc. – Kali was an art for the
preservation of life. The life of the individual,
his family, village, and culture. The importance
of Kali is emphasized in the words basic to the
Filipino and his view of the world. Kaligayahan
or happiness and Kalayon (freedom) both contain
the spirit of the Kali within them. They are
words still used today in parts of the
Philippines.
The concept of Kali as an art which preserves
life and freedom and which cultivates mutual
respect among men can be most vividly seen in the
unconquerable spirit of Muslims (Moros) of the
Southern Philippines. Dan Inosanto relates that
the Muslims warriors opposed the Spanish
conquests with their religion, their courage, and
their unparalleled fighting ability. Attempt by
the Spanish to capture Muslim leaders as a lever
to make their people submit, as they had done
with Montezuma in Mexico, ended in failure. The
Filipino leader held his position by dint of his
fighting knowledge his fighting prowess. He was
expected to die for his people in order to
preserve their freedom. The Southern Philippines
remained exempt from tribute throughout the
Spanish occupation. With American intervention
and occupation at turn of the century the Moros
continued their resistance to foreign government
and religion even when the rest of the country
submitted. The .45 caliber automatic was issued
to American servicemen because their .38s did not
have sufficient stopping power to halt the charge
of these ferocious warriors. This battle
continues even today between the Moros of
Mindanao and the incumbent government.
Knowledge of the Filipino martial arts first
appeared in the 16th century with arrival in the
Philippines of the Portuguese explore Ferdinand
Magellan. Magellan attempted to subdue the
natives and convert them to Christianity but he
was resisted by Lapulapu a leader of the local
people.Lapulapu’s men were well trained in native
fighting arts due to preparations for the battle
over a territorial dispute between Lapulapu and
Humabon, the chief of the neighboring tribe. The
tribes of Lapulapu and Humabon were part of the
Sri Visayan Empire in the earlier centuries of
Filipino history. The fighting arts of both
Lapulapu and Humabon were originally brought to
the Visayan Islands by their ancestors.
The early styles of Kali advocated by lapulapu
and Humabon were also known as pangamut. They
consisted of only eight strokes – six slashes,
two each to the head, chest, and kidney area, and
two thrusts – one to the head and one to the
chest. According to Eulogio Canete of the Doce
Pares Club, the differences were more in
application than in theory. Lapulapu was reputed
to be extraordinarily powerful. His favorite
weapon was a huge kampilan (double – pointed
blade). It is said that he could throw a short
stick with such force as to stick it fast in a
coconut tree. The kali of Humabon was softer and
more evasive than Lapulapus’ hard, powerful
techniques. Despite the preparation of the two
chiefs, a battle never took place between their
tribes. Instead on April 27, 1521 the Portuguese
were defeated in the battle of Mactan. Lapulapu
and his men met swords and musket fire with
blades, spears, and sharpened sticks. Magellan
himself died in the battle.
The Filipino martial arts under went a radical
change during the 18th and 19th centuries. The
Spanish conquistador’s had learned to respect
Filipino weaponry and fighting skills in the
intervening years. Under their rule the display
or carrying of blades and practice of Kali were
prohibited. The Filipinos turned to the use of
the bahi (hardwood) or oway (rattan) stick.
Practice with the blade still continued in secret
or in moro-moro plays. These indigenous stage
plays had Christians engaged in sham battles with
Moros. Kali, in a modified form, and Filipino
dances became an important part of the show. It
was through the moro-moro plays that arnis
survived the Spanish conquest and later the
American occupation.
With Spanish rule the native fighting arts
adopted new terminology and new methods.
Previously the art had been one in which the
blade was the primary weapon. Under the Spanish
the emphasis of the art turned to the use of the
stick. Before the Spanish Kali was known as
pananandata to the Tagalogs, Kalirongan to the
Pangasinenses, among the Ilocanos as didya or
kabaraon, to Visayans as kaliradman or
pagaradman. The Pampaguenos called it sinawali
and the Ibanag pagkalikali. After Spanish
occupation the art had became known as arnis de
mano derived from the Spanish word “arnes”
meaning trappings or defensive armor. In the
Tagalog province it became estocada, and in other
areas estogue, fraile, armas de mano, or simply
arnis. Among the Visayans it changed to egrima,
escrima, or eskrima from the Spanish fro “to
fence” or “skirmish”. The stick became known as
the baston, garote or tabak and the blades are
often grouped under the term bolo. Espada y daga
was what Spanish called the blade and dagger, and
sinawali or double baston refer to the use of two
sticks. Today the native fighting arts of the
Philippines are grouped under the name arnis. The
National Arnis Association of the Philippines
(Naraphil), a government supported organization,
is attempting to unify all of the native fighting
arts of the Philippines under one body, although
many styles are lost or remain secret handed down
only within the family or from father to son.
Source: http://www.customfighting.com/coed.html
History and Development of Filipino Martial Arts
Pre-Spanish Conquest
The Fighting arts of the Philippines are deeply
rooted in the history and culture of the Filipino
people before the arrival of the Spanish.[1]
The Philippines are located in a very central
position within Southeast Asia, acting as the
central stepping of the region. Even in
prehistoric time, earliest man would have crossed
though the Philippines to reach Indonesia,
Malaysia, and Australia. Millennia of culture
recorded waves of migration to the Philippines
from India, Malaysia, Indonesia and China. Due to
huge base of knowledge that was acquired, the
Filipino culture became quite advanced,
developing their own system of medicine,
astronomy, engineering, written language and
history.
In 200 B.C the Malays migrated to the
Philippines, bringing a wavy bladed knife from
the island of Java.[2] The ‘Kalis’ or ‘Kris’ is
the first foreign weapon to be incorporated into
today’s Filipino martial arts.[3]
In 78 AD, the Indian Prince Aji Caka extended the
Hindi Empire into Indonesia.[4] A mass migration
of Hindu Indians later followed in 400AD.[5] The
Hindu martial arts, weaponry, and superior
organization made it possible for them to conquer
the earlier peoples of Southeast Asia.
Two major waves of Indo-Malay culture were spread
to the Philippines.[6] Around 600AD, the Hindu
Sri-Vijaya Empire expanded into whole Philippine
region.[7] Later in 1331 AD, the Moslem Majapahit
Empire expanded into the Southern Philippines.[8]
The Srividjayans are the ancestors of modern
central Filipinos, including the Tagalogs,
Ilocanos, Pampangos, Visayans, and Bicolanos. The
Srividjayans brought the influence of the Hindi
and Indonesian religions, philosophy, arts,
combat, new laws (the famous Code of Kalantaw),
the Hindi calendar, a written alphabet
(Sanskrit), and a new system of weights and
measures.[9] The Majapahit Empire settled in the
Southern Philippines, bringing with them Islam.
[10]
Hinduism introduced the goddess Kali. Kali is
often depicted in Indian art as a black or dark
blue woman with four arms, holding a curved sword
and the head of a slain daemon. She has a
multifaceted character, known for her violence,
peace, compassion, chaos, and wisdom. These
contradicting traits mirror the contradicting
traits of nature, and are seen as representing
the ultimate reality of life.
[11] Followers of Kali seek to see things as they
really are, uncluttered by futile dreams, hopes
and false expectations. As a result, they learn
to seize the moment, and avoid making decisions
on the fear of death, old age or sickness.
[12]
From the 600AD to 1500AD the Filipinos were
followers of Kali. The language and culture
became saturated with reference to their goddess.
The words for happiness (‘kaligayahan’), freedom
(‘kalayon’), and the family/tribe (‘kaliman’) all
derived from the Kali faith.
[13] Each family or ‘kaliman’ also had its own
uniquely shaped sword known as a ‘kalis’.
[14]
[15]
Ferdinand Magellan
[16]
In 1518, Ferdinand Magellan convinced King
Charles I of Spain that the Moluccas, then known
as the spice island, could be reached by sailing
west instead of east. This would allow Spain to
claim Moluccas as part of the Spanish realm
agreed upon in the Treaty of Torsedillas.
[17]
The king agreed and on 20 September 1519, the
expedition sailed southward across the Atlantic
Ocean. After reaching the Marianas, Magellan
continued his voyage and arrived in the
Philippine Archipelago on 17 March 1521.
[18]
Magellan soon befriended the island chief Rajah
Kolambu, and with Kolambu’s help Magellan sailed
northeast to Cebu. The relationship between
Magellan and Cebu’s leader Rajah Humabon
flourished. In April 1521, Magellan succeeded in
baptizing Rajah Humabon, his wife and five
hundred villagers.
[20]
With the friendship and conversion of Rajah
Humabon, Magellan and his army were able to gain
control over all the Filipino islands except one.
On Mactan, a small island east of Cebu, Rajah
Lapu-Lapu stood defiant. Magellan was confident
that his men, with steel armor and muskets, would
easily defeat Lapu-Lapu. On the other hand, Lapu-
Lapu had only native spears (Kampilan),
broadswords (Kalis), and daggers (Daga).
[21] However, Lapu-Lapu’s men were well trained
in native fighting arts that were originally
brought by Sri-Vijaya Empire.
[22]
Lapu-Lapu was also reputed to be extraordinarily
powerful. It is said that he could throw a short
stick with enough force to pierce a coconut tree.
On 27 of April 1521, [25] Magellin and his men
were defeated in the battle of Mactan.[26]
Ferdinand Magellan himself, was slain by the Raja
Lapu-Lapu in a fierce hand-to-hand fight.[27]
Eyewitness historian Antonio Pigafetta recorded
that Magellan after a blow to the leg and neck
with a Kampilan.
[28]
One of Magellan’s remaining commanders, Juan
Sebastian del Cano, was left to complete the
remaining journey back to Spain.
[29]
There are some historians who suggest that the
battle of Mactan was probably exaggerated.
Magellan’s ‘army’ was more likely to have
consisted of 49 men with mainly pikes, swords,
halberds, some armor, and only a few firearms.
Lapu-Lapu’s men would have outnumbered Magellan’s
by more than twenty to one, and rained hundreds
of arrows and spears upon the Spaniards.
[30]
Spanish Occupation of the Philippines
Eventually the Filipino islands were conquered.
In 1542, the islands were renamed from Maharlikas
[31] to Las Philippinas in honor of Prince
Philip, later King Philip of Spain (Philip II,
1556-1598).[32]
In an effort to completely colonize the natives,
Spaniards destroyed and suppressed most aspects
of Filipino culture. This resulted in the loss of
the written Filipino language, religion, science,
and art.[33] Most of the population was converted
to Roman Catholicism[34] and forced to adopt
Spanish family names.[35]
In 1871, the Spaniards banned all forms of
martial arts and weapons.[36] The Filipinos found
a way to openly practice martial arts with
swords, by incorporating it with folkdances known
as ‘moro-moro’s’.[37]
The Binasuan, for example is a dance which shows
the joint locking techniques.[38] However,
Filipino martial arts could only survive by going
underground. The banned swords (‘kalis’) were
also replaced by the rattan stick (‘baston’)
replaced the banned sword.
Spanish rule lasted until 1898 when Spain was
defeated in the Spanish-American war.[41] The
Philippines were liberated, but were greatly
influenced by American culture, and English
became the second language. During World War II
the Philippines were occupied by the Japanese.
Martial arts were banned and again went
underground.[42]
The terms Kali, Escrima and Arnis all refer to
the same martial art.[43] However, the source and
meaning of these terms is highly contentious.
‘Kali’ and ‘Eskrima’ are foreign (foreign
influenced) terms, and Arnis is the correct
Filipino (Tagalog) term for this martial art.[44]
The word ‘Escrima’ is derived from the
Renaissance Spanish terms for ‘fencing’
or ‘skirmish’ (scherma, scrimia, escrime,
esgrima).[45] The Visayan people of the central
islands quickly adopted the Spanish terminology,
[46] either because of the linguistic influence
of Spanish, the incorporation of the Spanish
fencing into Filipino martial arts, [47] or both.
The word Kali is the name of the Filipino goddess
of war that was adopted from ancient Hindi
empires which had expanded into Southeast Asia.
[48] These empires included the kingdom of the
Indian Prince Aji Caka in 78AD, [49] and the
Majapahit Empire of 1331AD.[50]
The word Kali is a composite of the Filipino
words KAmut (hand) and LIhok (movement).[51] The
word Kali, sometimes written as Kahli, is a type
of stick in the Filipino dialect of Visayan.[52]
The word Kali is derived from the Tagalog dialect
term Kalis, meaning a large bladed weapon. This
was shortened to Kali to refer to all bladed
weapons.
[53]
The terms Kali, Escrima and Arnis are all native
Filipino words, that reflect different dialects.
[54] Arnis comes from the northern islands
dialect of Tagalog (Luzon). Eskrima comes from
the central islands (Visayas) dialect of Visayan.
Kali comes from the southern islands (Mindanao)
dialect of Cebuano.
The term Kali is seldom used in the Philippines
and in most cases is an unknown word. The terms
Escrima and Arnis are the names primarily used in
the Philippines today.[55]
Prior to Spanish conquest, Kali was known
as ‘Pananandata’ in the Tagalog
dialect, ‘Kalirongan’ in the Pangasinan
dialect, ‘Didya’ or ‘Kabaraon’ in the Ilocano
dialect, ‘Kaliradman’ or ‘Pagaradman’ in the
Visayan dialect, ‘Sinawali’ in the Pampaguenos
dialect, and ‘Pagkalikali’ in the Ibanag
dialect.
[56]
The term Kali, only refers to the martial art
that was first developed on the Island of Panay
in the Visayan Islands.[57]
The word Arnis is derived from the Spanish
word ‘arnes’, meaning ‘trappings’ or ‘defensive
armor’. Following the Spanish conquest, the
Spaniards referred to Filipino martial arts
as ‘arnis de mano’ or ‘defence of man’.[58]
The term Arnis is used to collectively refer to
all native Filipino martial arts. This is
apparently the official stance of The National
Arnis Association of the Philippines.[59]
http://www.shaolinchowka.com/shaolin-kung-fu-
history/index.html
Other interesting links:
Cebu
Eskrima Society
"NEW
THEORIES ON THE ORIGINS OF ESKRIMA" by Celestino
Macachor & "THE ORIGINS OF ESKRIMA" by Ned
Nepangue, M.D.
Musings on Martial Arts with Romy
Macapagal
The Spaniards' first 50 years in the
Philippines, 1565-1615
|
Posted 22:04
8 comments | Post a comment
|
| DAMAG-INC Kali Combatives Sept 24, 2006 Demo Highlights Video |
Highlights of the FMA Demo at the 28th Annual
Fayetteville International Folk Festival held in
Fayetteville, North Carolina. DAMAG-INC Kali
Combatives was there to represent this year's
host country, The Philippine Islands. Special
thanks to Liz Vasser and the Arts Council for
inviting us and Jason Borean for filming.
DAMAG-INC Kali Combatives Sept 24,
2006 FMA Demo Highlights Clip
It was a perfectly warm and sunny day and a
wonderful time was shared by thousands in
attendance.
Enjoy!
Daniel
|
Posted 08:22
No comments | Post a comment
|
Sun, 15 Oct 2006
|
| 10 Reasons to Study Filipino Martial Arts |
1) You will study an ancient art that only a
handful of people on the planet really know
about. The Filipino fighting arts are not very
well known, and there are only a small amount of
people who know this art, most of which are elite
martial artists, police officers, and military
personell.
2) It will instantly improve your skill in any
other sport you play or martial art you currently
practice. This is accomplished hrough the use of
sophisticated training methods that require the
utmost mobility, speed, timing, and
coordination.
3) It will help you in school or in the workplace
because it develops your sense of concentration,
tactical thinking, and decision making all while
teaching you how to keep a clear head. If you can
deal with a 28 inch machete coming at you, then a
physics test or that task your boss asked you to
do is a piece of cake.
4) You will get in awesome shape. The footwork
drills, wielding of weapons, and high-intensity
sparring sessions will definitely make you break
a sweat and tone your whole body.
5) You will experience the beautiful culture of
the Filipino people. When you learn about how a
particular people fight, then you learn about the
people themselves, their history, and their
traditions.
6) It's a great way to reduce stress. There's
nothing quite like the wielding of weapons to get
your frustrations out.
7) You will form bonds and make friendships with
those you train with. Training groups are like a
family, one where each member helps another bring
out the best in themselves.
8) You will develop a sense of courage and a
willingness to help protect those around you. The
FMAs will give you the skills you need to protect
those who cannot protect themselves. If trouble
is ever to arise, you will have the knowledge of
how to deal with that situation.
9) You will develop a strong sense of honor,
focus, self-discipline, and self-awareness. These
are essential attributes to any successful
individual.
10) IT'S FUN! Training in FMA is a blast. Learn
how to become a more powerful person while having
a good time doing it. FMA has rhythm, grace,
finesse...all of which help develop a better
sense of self and a stronger, more courageous
person
Source: Bayaniwarrior myspace blog
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Posted 13:50
3 comments | Post a comment
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