Message #11

[mdel747]

* | Filipino Martial Arts | linear, external, hard/soft
0 | Shotokan Karate | linear, external, hard
% | Tai Chi Chuan | circular, internal, soft


Circular[----------%---------------*---------------------------0------] Linear

Internal[--%--------------------------------------------*0------------] External

Soft [-%--------------------------*----------------------------0---] Hard



##### Why are triangles and circular or semi-circular moves common to the FMA ?

Triangles are an important symbol in the FMA. The triangle is one
of the strongest geometrical structures and is used in the FMA to
represent strength. Many schools incorporate the triangle into their
school's logo. The triangle is also used to describe many theories
in the FMA. Some of these theories are footwork, stances,
foundations of disarms, and theories of attack.

The circular aspect of the FMA can be easily seen in Kali Villabrille/
Largusa system, wherein they zone out of the attacking angle. However,
the most glaring example of the circular moves in FMA is in the empty
hand disarms or in their foot sweeps.



*************************************************************
* 2.0 TECHNICAL ASPECTS OF THE FMA
*************************************************************

##### What is the "live hand" ?

A VERY important concept in the FMA

The live hand is the opposite hand that does not contain the main
weapon. If you are right handed, it is your left hand. It is referred to as
being alive because it is used actively in combat for checking, blocking,
striking, and as support to the disarms and locks. In many of the
techniques, the alive hand is the major contributor to the success of the
technique.

"The live hand is the real weapon." - Dan Inosanto


Bantay-Kamay (The Live Hand)

The Bantay-Kamay (lit. guardian hand) is the secondary weapon in the FMA.
In a Solo Baston (single stick) situation, it is the empty hand, the Dagger
hand in Espada y Daga and the auxiliary/secondary baton in Double Baston.

Use of the Bantay-Kamay is developed during free-flow drills. The Bantay-Kamay
may take the following functions/actions:

1. Pigil (Jamming) - stopping a strike or attack
2. Paayon (Flowing - Go with the force) - redirecting a strike
3. Suntok-Tusok (Punch or Thrust) - a secondary attack during Solo Baston
or Multiple weapons drill/engagement. Also known as Sogo (Spearhand attack).
4. Dukot-Batok (Head Lock or Grab) - a grappling or throwing technique
during Solo Baston engagement. May also be executed in Multiple Weapons
environment by using the Punyo (butt or pommel).
5. Sampal-Kalawit (Palm Strike or Hook) - a palm-strike or hooking
technique leading to a take-down during Solo Baston engagement. May also be
executed in Multiple Weapons environment by using the blade portion (near
the hilt) of the stick or weapon.
6. Saplit (Centrifuge Disarm) - a complimentary technique leading to
disengagement or disarm of the opponent's weapon(s).
7. Concierto (Coordinated/Tandem Weapons/Hands) - a blind side or
inside technique that uses the Bantay-Kamay in coordination with the
primary weapon to execute a simultaneous counter-attack and control.
8. Hawak-Sunggab (Hold or Grab) - the restraint of the opponent's weapon
hand for the subsequent execution of a counter or a disarm.


There are many more variations and definitions regarding the use of the
Bantay-Kamay, but they can be classified under two general classifications:

1. Salisi - (Opposite Directions)
a. Salising Papasok aka Salisok
(Opposite Directions - Inwardi, aka Ops-in)
b. Salising Palabas aka Salibas
(Opposite Directions - Outward, aka Ops-out)
in addition the movements are classified as :
- Planchada (Horizontal)
- Aldabis or San Miguel (Diagonal)
- Bagsak or Bartikal (Vertical)


2. Concierto (Coordinated/Tandem Movement
a. Papasok (Inward)
b. Palabas (Outward.


These classifications are descriptive of the relationship of
the counter to the attacker's striking arm. If the attacker's arm or weapon
is pushed towards the attacker's body, it is classified as inward and
vice-versa.


##### What is the cane they are talking about ?

The FMA sometimes refer to the rattan stick used in training as a cane. The
standard cane is usually between 17" to 30" in length. Keep in mind that all
lengths of sticks are also used in training, from 4" to 6'.


##### What is sinawali, espada y daga, solo baston, crossada ?

These are descriptions of the methods of using weapons in combat

Sinawalli is the weaving pattern a practitioner uses when working with two
weapons. These patterns are commonly used as a drill to teach coordination of
both hands. When the player can perform sinawali well enough by themselves,
they move on to perform the drill with a partner. To do the drill with a
partner, the two players face each other a go through the drill symmetrically.
When this can be done well enough, the players throw variations and movement
into the drill. In the end, the drill becomes a type of sparring exercise.
Because of the way the players work together in these drills, sinawali is
sometimes referred to "give and take" drills in many of the FMA styles.

Below are descriptions of there sinawali drills. The first two are common to
most of the FMA.



+++++++++++++++++++++++++++++++++++++++++++++
+
+ rh = right hand
+ lh = left hand
+ sbs = snap back strike
+ fts = follow through strike
+
+ Ready chamber position.
+ Start with lh under right arm,
+ rh over right shoulder
+
+ Target levels can be any level.
+
+ Sample Numbering system
+ #1 - left head
+ #2 - right head
+ #8 - right knee
+ #9 - left knee
+
+++++++++++++++++++++++++++++++++++++++++++++


FOUR COUNT

1) rh to left temple (#1 fts strike)
lh weaves out during #1 to chamber over left shoulder

2) rh to strike to right knee (#8 sbs strike)
returns to chamber under left arm, back in ready but opposite side

3) - 4) Same as above but reversed.


SIX COUNT

1) rh to left temple (#1 fts strike)
returns to over left shoulder

2) lh to left temple (#2 fts strike)
returns to over left shoulder as #3 starts

3) rh to right temple (#2 sbs strike)
returns to under left arm, back in ready but opposite side

4) - 6) Same as above but reversed.


TEN COUNT


1) lh to left temple (#2 sbs strike)
returning lh to right shoulder as rh leaves for move #2
( ie left will be on top)

2) rh to left temple (#1 sbs strike)
returning rh to same position as lh leaves for move #3

3) lh to left temple (#2 sbs strike)
Same as #1 move but lh returns to chamber under right shoulder

4) rh to left temple (#1 fts strike)
rh returns to left shoulder

5) lh to left temple (#2 fts strike)
lh is returning to left shoulder chamber replacing the rh. The rh
will start to do a number #2 strike and is weaving in between the lh
coming to chamber and your head. The rh going to a #2 strike will start
move #6. At this point the sinawali is the same but reversed.

6) - 10) Same as above but reversed.


##### What is espada y daga ?

Espada y daga is the method of using a stick(sword) and dagger in
combination. The sinawalis can be considered espada y daga if all the
variations of sinawali weapons are considered. However, Espada y daga
generally refers to a more linear sword and dagger approach similar to that
used in European sword arts.


##### What is solo baston ?

Solo baston is the method using only one stick with empty hand strikes in
combat. Strong use of the alive hand is noted.


##### What is crossada ?

Crossada is Filipino for crossing. It is a the method where weapons or empty
hands are used in a crossing pattern for simultaneous offense and defense. It
is similar to other martial art's X Block, however it is not a static block.
It involves movement and angling to defend against the strike. There is a
slight trap at the moment of intersection at which time the attack is given.
This all happens in one movement. This is one of the primary ways the flow is
established during combat. It give the opponent no time to react because there
is no break during the defensive and offensive moves.


##### What are ranges of combat ?

There are many ranges to combat and each one of the FMA has its own
method of labeling and numbering them. Some styles can have as many as
16 ranges defining all types of combat. Below is an example of two. The
first is the four ranges which are commonly used to explain simple ranges
in relation to other martial arts. The second is an example of ranges for
stick vs. stick fighting. There are many different types of ranges in the
FMA. Each style uses different types to utilize the style's strengths and
explain its method.

TYPICAL EXAMPLE OF COMBAT RANGES

1) WEAPONS - No empty hand technique can hit therefore only weapons are used.

2) KICKING / PUNCHING - Typical range for Karate / Tae Kwon Do / Kung Fu.

3) TRAPPING - Trapping, close punching, elbows, head butts are used in this
range.

4) GRAPPLING - Typical Wrestling / Ju-Jitsu / Chin Na / Aikido


EXAMPLE OF WEAPON RANGES WITH STICKS

1) FAR - you can hit you opponent's hand with the end of your stick as he
strikes.

2) MEDIUM - you can now check your opponent's hand with your opposite hand.

3) CLOSE - you can now hit the opponent with the butt of your stick.


##### What are the 12 angles of attack ( also known as 12 strikes ) ?

The twelve strikes/angles are common to most FMA styles. They are the
basic strikes or direction of strikes covering all angles of attack. Most
styles use basically the same numbering system with slight variation. The
point is to learn how to dissect and classify the strikes and develop
methods of defense and offense using these 12 angles. At an advanced
level the student should learn the similarities of the these 12 angles and
further simplify classification and responses to their attacks. The first five
angles are common to many of the styles.

There is usually one set of numbers used for defensive angles and offensive
strikes. These numbers are based on attacks with the right hand only.

As an example ....

A backhand strike with the right hand would be a number two strike
coming in at angle #2 ( therefore 2 at 2 ).
If the same attack is done with the left hand the strike is still a
number two however it is at angle #1( therefore 2 at 1 ).


##### What is the flow ?

Obtaining the ability to flow in combat is the ultimate goal of a FMA
practitioner. A student of the FMA attempts to smoothly move between the
ranges of combat without any disturbance in the transition. This requires
skills in all four of the ranges ( with and without weapons) , the ability to
put motion and technique together continuously, and the sensitivity to fit
your technique to your opponent's. These attributes create a smoothness
in combat which is called the flow.