Tags: #🌐 References: Quellen: --- So he would know this idea of Kali. I'm going to get to this controversial thing again. I have no problem with people calling Kali a martial art of the Philippines. The history of it, though, I don't think is accurate. Because if you speak to the Filipinos here, other than those who are now exposed to the systems in the U. S. and are jumping on the bandwagon and using the term Kali, the word is used in many dialects and languages here. But it doesn't mean anything in terms of a fighting art. The only reference to Kali as an Otogalleg word is Kalis, which means sword. And then S was dropped. That was it. And then some people ran with that. And then from what I understand, Guru Dan, he explained it in Blade of Cantoo, is that it was Floro Villa-Gabril who told them to call it Kali. The blending of Kamot and Bisayan words that means hand motion, right? But it was explained to me, to Celestino, that that's not something that Bisayans do, is to blend two words together. They're their own separate words. And then in his own research, he went through Mindanao. He went through the southern part of the Philippines, and he asked people in these various regions that were supposed to be the basis for some of these masters that used Kali. He asked them, and they said they never heard of Kali. So again, I'm not opposed to using the word Kali in and of itself as something to identify an indigenous martial art without the influence of Spain or Spanish influence culture. But my opinion, you know, I'm a strong believer in lineage, and you got to give proper credit to where credit's due. This is kind of accidental. ## Doce Pares Multi-Style System > DOCE PARES MULTI-STYLE SYSTEM OF ESKRIMA | KALI | ARNIS > The components of the "Multi-Style" system. > For many years and even up to the present people are still confused about the real Doce Pares system. This is only understandable because while the system is a conglomeration of various styles as introduced by the founding masters in 1932, there are many instructors and masters today who only teach a specific style of any one of the original masters. All the founding masters had their own set of followers and the students who chose not to study and cross-train in other styles naturally learned only the particular style of his own teacher. > Doce Pares was a virtual arsenal of Eskrima styles, hence, there's the Larga Mano of Eulogio Cañete; the Espada y Daga of Felimon Cañete and Jesus Cui; the Corto Linear of Teodoro Saavedra and later on of Venancio Bacon, Delfin Lopez and Timoteo Maranga; the Corto Orihinal and Media Largo of Felimon and Iluminado Cañete; the Hirada and Retirada of Vicente Carin and Ponciano Ybañez; > the Mano-Mano and Baraw of Maximo Cañete and Jesus Cui; the Corto Kurbada and Abaniko of Ciriaco and Felimon Cañete respectively. > Thus there are many masters today who only teach and promote one particular style and yet can validly claim to belong to Doce Pares family. > It was in early 1970 when Diony was commissioned by his father Eulogio Cañete, the President of Doce Pares to study, prepare and formulate a program of instruction that would cover and comprehend all the component styles. The specific objective was to come up with a training curriculum that would give equal treatment and prominence to all the original styles and by all means to afford due honors and recognition to all the founding advocates. Hence the birth of the "Multi-Style" system which very much set well with Grandmaster Diony as he and his three elder brothers were among the very few who were fortunate to have learned all the original styles as brought into and introduced by the founding masters when Doce Pares was formed in 1932 > The components styles of the "Multi-Style" are: All the three styles of Corto (Close Range); Corto Linear (linear strikes) Corto Kurbada (curved striking) Corto Orihinal (highly characterized the original Doce Pares close range style) > Media Largo (Medium Range), Larga Mano (Long Range), Espada y Daga (Short & Long Stick or Stick Dagger), Baraw (Knife Fighting Techniques), Mano-Mano (Open Hand Fighting) > Sumbag-Patid (Punch and Kick), Lubag-Torsi (Locks and Immobilization), Layog-Dumog (Takedown and Grappling), Doble Olisi (Double Stick) > Specialized Subjects: Eskrido, Sinawali, Tapi-Tapi (Alive Hand), Sayaw/Karanza (Forms) > All the above subjects are incorporated under the comprehensive 5-year training curriculum of the Doce Pares "Multi-Style" system. The program is taught only in schools authorized by Doce Pares International, the original Doce Pares organization and only one recognized by the government of the Republic of the Philippines, duly registered with the Securities and Exchange Commission as DOCE PARES INCORPORATED under Registration Certificate No. 1373. Quelle: https://www.facebook.com/PucaraCombinedMartialSystems/posts/2220456264685067 ## The Secret of Balintawak > THE SECRET OF BALINTAWAK > Never mind that he's a Grand Master...the human being that is Bobby Taboada is far more incredible than the martial art that often defines him. To me, he's bigger than Balintawak itself. > We talked about a lot of things. In between his vibrant stories of the good old days, of street fights and challenge matches, I asked some curious questions. > I would ask a question. He would pause. A pause to think. Then he'd answer. The answer he gave would lead the way to more great stories of men who I know very little about...Nick Elizar, Angel Cabales, Sam Buot, Anciong Bacon, Villasin, Velez and their sons. I'm sure some FMA historian would have loved to hear these stories...I really just wanted to know more about Bobby. > I asked, > GM, how might you feel if one of your instructors gloated on social media that Taboada Balintawak is the best and they're a great fighter because they trained directly under you? He paused. He smiled. > "That will not happen." He paused. He looked at his guys. I looked at them. I understood. > "You know, some people will gloat about training in authentic this and that. That they train with some great master. It doesn't matter. It's up to the student. I train all of my students to be better than me some day." > I said > GM, you're so honest about Balintawak. > "There's no secrets, man." > Then he proceeds to tell me the great secrets of his instructors. The people who taught him. I sat and listened as he told me stories of instructors he could not hit. Instructors who could hit him on command. Great stories of seemingly superhuman abilities. > Then he prepped to share with me the secrets of his masters...and it's now the same secret he has. The secret of how this 70 year old man can outclass any of his senior instructors. > "The secret why they cannot beat me...is because I'm the one who taught them!" We laughed. There are no secrets. > And then I thought about Balintawak Level 7. The holy grail of Balintawak. Relatively few people have attained Level 7. > Each level in Balintawak builds a particular attribute or skill set. Starting with the fundamentals at Level 1. All the way through to Level 6 dubbed COA - Completion of the Art. > Then there's Level 7 : > This level requires the practitioner to develop, create, or integrate other systems, arts, techniques or concepts to create 24 new Balintawak techniques. I'm pretty sure its 24. > Think about that for a moment. Level 7 is about integration, creation and innovation. Three things that other FMA systems are either afraid of or resistant to. In Balintawak it's so encouraged that its built into the very structure of the system. This is why I love Balintawak. > And one last thought. GM Bobby doesn't know what Grand Master even means. He's said so himself. He doesn't consider himself as such. I agree. I think that title is beneath him. Whatever rank exists beyond Grand Master...that's Bobby Taboada. > This man has not only built up one of the biggest FMA systems in the world but he's cultivated a community of instructors of the highest calibre. He held drama and politics at the absolute minimum. Almost non-existent. And he's created a system where he continually learns from his instructors...thus guaranteeing a continuous process of self-evolution. He never stops learning...and in Balintawak fashion, he learns with speed, power, impact and intention. > I don't hold rank...I don't know the grouping systems. I don't even know how to play Balintawak. But, I love Balintawak and so should you. It embodies the Filipino fighting spirit of the highest order. Its mostly about love, community and family...and the will to defend it. Quelle: https://www.facebook.com/thorsten.knopf.3/posts/10217700922089196 ## Brunei und die Südphilippinen > The south of the Phillipins was controlled for a long time from Brunai. So the influance of Silat to the FMA is normal. What is totally different is the foodwork in SSBD and as you see in the video, the tribefight. P.S. often Styles in that area(Philippins, Indonesia, Malysia etc.) are named by the region were it comes from. And Kalimantan is the malayan name for Borneo Some people are trying to explain were the name Kali is comming from. That is my easy statment Quelle: https://www.facebook.com/ ## Solo Baston: das 12er-Muster «Armorado» > Footage from a Solo Baston workshop at the NSI home gym covering Anyo (form) and translations, (and some other stuff too,,,) > The 12 stroke pattern is a template that the late Sigung Richard Bustillo shared with me; he referenced it as "Armorado." > Predominantly the counting and sequencing can be initiated anywhere within the template. Double zeros begin the set, I teach it as 2 - 6 stroke sets coupled together to total 12 strokes,,, > Sigung taught it to me as (#1) single zero forehand followed by angle switch to double backhand zeros (#2 & #3) step back and execute upward diagonal forehand stroke as #4, followed by a high backhand retracting stroke for #5, step forward and execute a double zero backhand for strokes #6 & #7,,, > #8 is a quick center mass thrust, apply it as closing and an "ABD" attack by draw,, or score the thrust and quickly break timing with #9 high forehand abanico, #10 backhand abanico, #11 abanico, so 3 abanico head shots in quick succession,,, immediately followed by #12 forehand singular zero to complete the set,,, 12 stroke Amorado set,,, > I'm a bit ADHD, possibly behind the curve, and dyslexic,, numbering and counting has to flow naturally for me so I changed the count and sequencing by changing the #12 stroke to become #1 stroke,, that's how it is taught by me,, > I always reference it as Sigung Bustillo taught it to me but for me personally, it flowed better,,, so I changed the sequencing,, (Richard just laughed at me and said it was working so "make it happen!) > All patterns contain tempos, the crescendo-decrescendo theory allows the body, breathing, and intent to synchronize actions of movement with the level of completion of commitment; possibly think or "feel" follow-through energy as opposed to snapping action energy,, an example is stiff jab or snap jab,, coupled to your breathing,,, > Cadence and rhythm allow broken tempos and variable power surges directed at the apex of the intended impact arc,,, I teach through music terms such as "crescendo and decrescendo" which in essence is similar in content as acceleration and decelerating or RPM velocity and compression,, for me it is a simplified way to control force progression, with a "staccato" point of contact commitment, timing, breathing, surges of intent,,, tough to put some strategies into words,,, (at least for me) easier to feel it in movement that describe it into words,,, > ksw ## Presas und Chiuten (Zusammenfassung) Nach Celestino Macachor und Roland Dantes (über Kelly Worden): Professor Remy Presas forderte GM Johnny Chiuten zu einem Duell heraus. Doc Lengson, beiden wie ein Bruder verbunden, brach es ab – Chiuten hatte damals mit seiner Stahlpeitsche die mächtigere Waffe. Als Chiuten später zurückkam, um die Herausforderung mit gleichen Waffen anzunehmen, fragte Presas nach seinen Lehrern (Teofilo Velez, Atty. Villasin, GM Bacon) und winkte ab: Sie hätten bei denselben Lehrern gelernt – so wurden sie gute Freunde. Chiuten gilt als «Enzyklopädie der Kampfkünste», bescheiden und respektiert; er lebt auf Bantayan Island und ist der letzte lebende der ursprünglichen Senior-Meister des Balintawak. Quelle: https://www.facebook.com/kelly.s.worden/posts/10153331988858185