Saavatilda Eskrima Club

A Filipino Martial Art From Cebu, Philippines

2007-12-14T10:53:00.000-08:00

Atillo Balintawak Eskrima is a powerful Filipino martial art developed by Grandmaster Crispulo "Ising" Atillo based on the style of the legendary Grandmaster Doring Saavedra.

This art uses the single stick, as well as edged weapons and empty hands. We believe in P.A.S.T. - Power, Accuracy, Speed and Timing. It is a highly efficient style for combat (military/law enforcement), personal self-defense, and tournament situations.

The club is located in Huber Heights, Ohio. Email Guro Paolo at benevolence_balintawak@yahoo.com for additional information.

• Teaching private and group classes in Atillo Balintawak Eskrima

• Defense oriented in the close quarter, but we'll attack the attack when we need to

• Sub-component bladework and largo mano is studied as well as empty-hand applications

• Randomized method is taught with comparison to grouping method shown

• Friendly atmosphere but no egos, no politics - leave it at home or at the door

Guro Paolo David

2007-12-13T20:00:00.000-08:00

Before meeting Grandmaster Crispulo Ising Atillo in 2002 and becoming his private student, Guro David was exposed to several martial arts including Yoshinkan Aikido, JKD, Wing Chun, Yang Tai Chi, Liang Zhen Pu Ba Gua, Jose Go’s Banate (Balintawak), and other Filipino martial arts.

When Guro David met Grandmaster Atillo it was by coincidence. He just happened to be visiting relatives in California for a month and Grandmaster Atillo happened to be in the same town. For Guro David, Grandmaster Atillo’s method of teaching has opened his mind to the possibilities of change in combat not just at close range but in all ranges.

On his first day Grandmaster Atillo had Guro David sparring with him and although he was terrified and received a few bruises, he faired well not only because of the techniques but because of the principles - simple principles that can be applied to any art you study. There are no secrets to Grandmaster Atillo’s art. Just simple, yet profound principles only experienced through flowing with Grandmaster Atillo and by practice, and more practice.

The system starts out with the basics - how to strike, stances, footwork, positioning of body and stick. The art trains you to fight other skilled eskrimadors and these basics, even before learning the numberings, are ingrained. Then comes the numberings, defending against them and defending and countering. After these you learn methods of defense that Atillo has created to build up your speed, accuracy and timing. In the advanced fundamentals you spar and learn what Atillo calls “steps”. These steps eventually lead you up to the highest “floor” - the Cuentada. The Cuentada is an account of your opponents’ moves, and sometimes planning three steps ahead of your opponent, where you are in complete control of stick and body and effectively answering all questions quickly, smoothly and efficiently.

Guro David states, “The longer I train with Grandmaster Atillo the more I’m in awe of his endless answers to all my questions in combat. His experience in real fights, and witnessing of real fights, has enabled him to mold his system of fighting to a base, practical method that makes it easy for the student to follow but also challenges the student continuously. He is always generous in his teachings to those who come with their cups empty.”

Guro Paolo David has helped spread Grandmaster Atillo’s art in Toronto, Canada to a select few students from all walks of life - from law enforcement, college students, and business owners, to pharmacists, accountants, and actors. He’s had the pleasure of being a guest instructor at the Rapier Wit stage combat school in Toronto, Ontario (Canada) in October 2004 and conducted a class with GM Atillo at the Inosanto Academy in August 2006. Also in 2006, Guro Paolo David helped write GM Atillo's special edition issue for FMA Digest found here.

When Is Too Similar Too Much?

2007-12-13T19:35:00.000-08:00

In one of my articles I mentioned the positives of cross training in another art. Cross training helps round out your fighting repertoire and gives you another perspective on the fight and self-defense applications and concepts.

But is there a time when the positives of cross training can turn into negatives and actually deter or stunt your growth in your martial journey? Is there anything wrong with getting out there and learning as much as you can to expand your abilities and find out the weaknesses in your main art?

I'll address the first question. I believe when you're training in another art that is similar, but at the same time different, you will stunt your growth or become what in the filipino martial arts is called half-baked.

I recently trained a couple of fine Taboada Balintawak students (for a short time), and while a lot of what we were doing was similar, there were subtle differences in movement, technique and methodology that made it challenging for me to teach and challenging for the students to remember. It's like trying to teach a karate student the internal chinese martial arts - they're too stiff when they need to be relaxed and their habits are hard to break. I believe in time any student can overcome the hurdles but it would take a commitment and the ability to compartmentalize the techniques and concepts in the different arts they study.

So this brings me to my second question. If a student cannot compartmentalize the differences (as it pertains to similar arts) and understand the reasoning for the differences, then yes, the resulting techniques performed by the student will not have the required flavor or ingredients and he/she will become half-baked. Better to study as much as you can in one filipino martial art, then explore and seek out what you feel was missing. This doesn't mean you shouldn't cross train at all (from time to time) in another art while studying your main art. I believe it's okay as long as it's noticeably different from your main art (i.e. studying tai chi and balintawak), offers a unique perspective on things like mindset and movement that will enhance your current training, or works on complementary attributes (i.e. sensitivity, speed, etc.) but in a different yet interesting way - it's really all about enhancement, not replacement.

Now if we're talking about compartmentalization as it pertains to two or more (we're talking deep study, okay) main arts that are quite different from one another - well... I won't even go there. I don't think you'd have a life, let alone time to make a living if that was the case... unless you were Bruce Lee of course. But on the other hand, if you have the drive, determination and passion then go for it. But don't go beating yourself over the head if you find it unmanageable - at least you tried.

Attending seminars can provide a smorgasbord of ideas and new tools to pick up and play around with, and since a seminar is usually a weekend affair, it won't hurt or confuse your current studies and training - just open your eyes a little. But trying to seriously study two very similar (but different) arts can be just that... trying.

So to conclude, we cannot compare ourselves to someone like Bruce Lee who had the God-given talent and ability to study a variety of different and similar arts, perform them with such skill and finesse, compartmentalize them, and ultimately mold his studies, movement, and tactics into a cohesive unit (that worked for him) - and in such a short time. If you think you can do the same, then more power to you. I'm sure most of us proletarian martial artists will be happy taking it one step at a time and enjoy, appreciate and ponder the gifts of knowledge we receive.

Cuentada - The Coles Notes Version

2007-12-13T19:30:00.000-08:00

I'm sure there are better explanations of the Cuentada out there. Here's mine.

One thing to absorb into your gray matter is the realization of a plan. Whether you're in law enforcement, bodyguarding, military, a plan is a must, correct? Even going about your daily business you need a plan. But a good plan is useless without proper execution - method or tactic to reach your objective or plan. We all know that the mother of all skills is repetition. Precise and efficient movement to realize the goal of your plan is needed. Even still, proper execution hinges a lot on good timing. You can kiss your best laid plans and excellent execution goodbye if your timing is poor. This is why old masters can toy around with younger, faster and stronger opponents. They may be weaker but they have many years of experience planning (sometimes three steps ahead) and executing, and they can sew it all together because their timing is impeccable. Proper execution and good timing are closely linked together. Actually they're all linked together but the latter two even more so.

If we break down proper execution we have simple movements, that's right, basic movements - mastered. Fancy movements are nice, but simple, basic movements are nicer, especially when done effortlessly - that is real skill. Now these can even be further broken down into tiny fragments where you can influence them, change or correct them. If you've ever played tennis or seen a tennis match on TV, you may have experienced or heard the term, "being in the zone." This is where things are happening so fast, yet you experience them in slow motion. In the tennis example, the player can easily pick his shots, cannot miss and controls the opponent all the way to the end of the point. This is what we need to be able to break down simple movements into many fragments. Then you can, in a split second, change your movement and adapt to your opponent, alter your timing, and alter your plan. When you're in this zone, you've reached what in Atillo Balintwak is called Cuentada. This is why it's so important to continually train under pressure and with resistance - to be able to realize these opportunities (while mentally "being in the zone") and accordingly alter your execution, timing and ultimately, your plan.

An important thing I should mention is that while we learn specific techniques, and the mechanics and flow of them, with enough practice you should be able to experience freedom of movement at any time, especially when you alter your plan. This is because combat is ever changing, and when you can move freely (outside the box, so to speak) you will not worry about the outcome of the confrontation - only what's happening at present. Proper Execution + Proper Planning = Freedom of Movement or...Cuentada.

The Look

2007-12-13T19:15:00.001-08:00

In Balintawak, most of the time you're feeling your way through an engagement with your opponent. Whether it's checking the hand, stick, arm, shoulder, etc., you're always getting input and information from your opponent about his intentions through feeling. This goes for a lot of other close quarter battle arts which operate on feeling the energy from an opponent and thinking a few steps ahead to best them based on the information gathered through checking.

But is that all we need to gather the information about the intentions of our opponent? No, because you see, you need the LOOK in conjunction with feeling through checking to get the whole picture. Much like the game of poker, you observe your opponent's non-verbal (and even verbal if he's a yapper) expressions/intentions for any signs of weakness, nervousness, anger, fear, tiredness, etc., that will help you implement the tactics needed to take your opponent out. I tend to look at the eyes.

So this LOOK we are talking about is the ability to read and decode non-verbal cues. It is the limbic system of our brain that reacts in real time to the world around us, both instantaneously and reflexively. The limbic system is also our emotional center. From here signals go out to other parts of our brain, which in turn manifests a physical tell-tale of our intentions, feelings, etc., through our feet, hands, torso, and of course, our face and eyes. Our limbic survival responses are permanently "programmed" into our nervous system, making them hard to discard or conceal.

It is very beneficial for you to not focus on the stick but observe in a general gaze (chest level) or look at the eyes of your opponent. The general gaze will give you the "big picture" about your opponent's movements and allow you to see out of the corner of your eyes for other attackers. Looking straight at the eyes can really bother some people. From my experience they tend to lose some timing and mess up their movements because they're all flustered from being on the receiving end of the LOOK - our own reconaissance to read and decode non-verbal cues. Remember that when we say LOOK we don't mean FOCUS. To focus on any one thing, be it the eyes, stick or blade, can spell missed opportunities for you and more opportunities for your opponent. The LOOK is for probing and intimidating and your peripheral vision is always attached to the LOOK.

Now this is not any old LOOK. There's no look of compassion, humor, sadness or fear, but of sheer determination and will that can spook some opponents out. Probably because they don't like staring contests, or maybe they're shy. But one thing's for sure - in order to raise your skill level or just plain survive, you must not focus on the stick or blade because the story you're missing from the non-verbal cues (like eyes) of your opponent, or the slight advantage you could gain by just giving them the LOOK and messing with their head, could turn you - into a real short story.

Bracing The Stick In Balintawak

2007-12-13T19:15:00.000-08:00

This should probably be under the article, The Live Hand In Balintawak, but the practice and application is important so it deserves its own write up.

In some styles of FMA, but particularly in Balintawak, there is this bracing of the stick. Atillo Balintawak practitioners utilize this even more so than other Balintawak groups. Why is this?

Well for one, if we take the adage in Balintawak that goes, "never underestimate your opponent," or "your opponent may be bigger, faster, and stronger than you," then it goes without saying that this concept and its application is one that ensures you keep your head on your shoulders and provides opportunities that you don't even have to work for - your opponent gives them away.

There are times where you may not be able to brace the stick. Like when your live hand is grabbed by your opponent. In this case you can extend the block to negate some of the energy before the strike reaches the point in its trajectory where it's at full power, and this may be combined with zoning/footwork and head movement. Obviously you would not do a compression block as this would be too close to your body/head and would allow the strike to reach you at full power.

You may have trained in other FMA where they employ a sweep block - your stick actually strikes the opponent's stick in a sweeping motion and your live hand checks the opponent's hand to prevent the follow through. This has validity because:

1) The momentum of your stick as it strikes the opponent's stick dissipates some of the energy

2) This makes it easier for your live hand to check the opponent's stick hand because the power is greatly reduced by the action in number 1, and allows for a quick counter

Now if you don't do number 1 above, your action and possible consequences would be thus:

1) Your live hand and vertical stick block are meeting the strike at the same time, with your live hand either checking stick or opponent's hand

2) If your timing in number 1 is off, you'll either taste some rattan (or some rattan will taste you) or you'll be rocked off balance trying to check your opponent's stick hand because you underestimated the shear power of the strike

3) If your opponent changes the trajectory of his strike just enough so that it misses your live hand but hard enough to crush through your vertical block, you will again be savoring delicious rattan

Any one of the above will spell missed opportunities and wasted energy. Even if your timing is bang on it's a gamble. You might fool your opponent once, you may fool your opponent twice, but if he catches on he'll see the live hand before the stick and a variation of number 3 above can occur - a slight adjustment of trajectory to break the fingers of your live hand.

Now Atillo Balintawak does check the stick or hand, but we brace first. And if you train this a good number of times the transition becomes lightning quick. We will also directly check the hand but this will be way before the strike gets to full power and usually accompanied by a simultaneous strike.

With self-preservation in mind, we should remember to use our mastered basics of offense and especially... defense. But on the other hand, it's always situational is it not? Like Sun Tzu said "If you know the enemy and know yourself, your victory will not stand in doubt."

Like I wrote up above, we never underestimate the opponent. But once we know the enemy and can sense weakness, disorientation, or fear, then sure you may get away with not bracing the stick. And of course, you can get away with this during palakaw or agak in some Balintawak groups where you are building your form first. I just hope they eventually teach the importance of bracing the stick. You may get away with a lot actually. But then again, that is few and far between. FMA is a warrior art and we are no slouches - whatever system you train in.

The Live Hand In Balintawak

2007-12-13T19:10:00.000-08:00

The live hand is just as important as the weapon yielding hand in Balintawak. Its versatility lies in its ability to check/monitor, grab, poke, slap, punch, pull, and push. These could be used in tandem with your stick to facilitate locks and takedowns as well. Its sneakiness lies in a practitioner's ability to use the live hand to deceive or confuse his or her opponent by using any number of combinations (grabbing, poking, pushing, etc.), with lansis or feints.

One of the things some people face, myself included, is that unless you're ambidextrous, utilizing your live hand (usually your weak hand) with any kind of stability and power is a great challenge.

In Atillo Balintawak we overcome this with certain drills and the methods of defense and counter which include a lot of checking, grabbing and manipulation of the stick. Within the methods of defense and counter we also develop good form, speed, timing and power.

Now let's talk about improving punching power. We need good form to increase power. Without it you can kiss your speed and timing goodbye as well. We can create or increase power, via good form, through proper bone alignment. If there is no alignment there is a disconnection in energy, and dissipated energy equals no power, which leads to an easily destroyed structure or loss of balance, poor timing and decreased speed.

Good form also needs proper leverage. In Balintawak, energy/power in striking starts from the ground, at your feet, and works its way up. Proper weight shifting at the feet coupled with proper bone alignment can help increase power in your punch. We must remember, that a lot of power is lost in the joints - wrist, elbow, shoulder. So alignment doesn't mean just bone but joint alignment as well. If your joints are misaligned (ie. bent wrist when performing hook punch) power loses its "expression."

Good form also means being relaxed and following through properly. Properly meaning, don't "freeze" your punches. Tension is okay at the moment of impact but not before. We must remember that tension is the opposite of speed and power. And tension anywhere, especially in the shoulders, will diminish quite a bit of your punching power and speed. It would be liking driving a car with one foot on the gas and the other on the brakes. There's power, but not the kind of power we are looking for. Follow through is not as easy as it sounds. Proper follow through is a culmination of correct mobility obtained from pivoting, weight-shifting and a bent-knee base.

With this in mind and the training of your timing and speed, your punch will be heavy-handed...in good time grasshopper! And remember always, it is the whole body that punches, not just the arm.

The Works of George Silver, Gentleman of England

2007-12-13T19:00:00.000-08:00

George Silver, Gentleman of England, wrote his Paradoxes of Defence in 1599 to counter the claims of Rapier masters who counted the point as the only true way to win a sword duel. It's an interesting controversy and read. I've noticed some similarities in his principles to FMA, and Balintawak in particular. Some of what follows below is also taken from Silver's accompanying book, the Brief Instructions, which is the book which actually explains how to use various weapons instead of merely lecturing about why rapiers are so bad. It was apparently not published until a copy of the manuscript was discovered in the British Museum, and was subsequently printed in 1898 by Captain Cyril G. R. Matthey.

See if you can notice the similarities and differences in his thinking. The old English may take some getting used to, but I've translated it the best I could. Veritas Vincit - Truth Conquers.

Paradoxes of Defence

Four Principles of The True Fight At All Manner of Weapons
1) Judgement
2) Distance
3) Time
4) Place

Through Judgement you keep your Distance, through Distance you take your Time, through Time you safely win or gain the Place of your adversary. The Place being won or gained, you have Time safely either to strike, thrust, ward, close, grip, slip or go back in which time your enemy is disappointed to hurt you, or to defend himself, by reason that he hath lost his true Place. The reason he hath lost his true Place is by the length of Time through the numbing of his feet, to which he is of necessity, driven to the will-be Agent.

The Four Governors

1) The first Governor is Judgement which is to know when your adversary can reach you, and when not, and when you can do the like to him, and to know by the goodness or badness of his lyinge (position), what he can do, and when and how he can perform it.
2) The second Governor is Measure. Measure is the better to know how to make your space true to defend yourself, or to offend your enemy.
3 & 4) The third and fourth Governors is a twofold mind when you press in on your enemy, for as you have a mind to go forward, so you must have at that instant a mind to fly backward upon any action that shall be offered or done by your adversary.

Certain General Rules Which You Must Observe in That First Use of All Kinds of Weapons

1) First, when you come into the field to encounter with your enemy, observe well the scope, evenness and newness of your ground. Put yourself in readiness with your weapon, before your enemy comes within distance, set the sun in his face, traverse if possible, still remembering your governors.
2) Let all your lyinge (position) be such as shall best like yourself, ever considering out what fight your enemy chargeth you, but be sure to keep your distance, so that neither head, arms, hands, body, nor legs, be within his reach, but that he must first of necessity put in his foot or feet, at which time you have the choice of three actions by which you may endanger him and go free yourself.

1) The first is to strike or thrust at him, at that instant when he has gained you the place by his coming in.
2) The second is to ward, and after to strike or thrust from that, remembering your governors.
3) The third is to slip a little back and to strike or thrust after him.

But ever remember that in the first motion of your adversary toward you, that you slide a little back so shall you be prepared in due time to perform any of the three actions aforesaid, by disappointing him of his true place, whereby you shall safely defend yourself and endanger him.

Remember also that if through fear or policy, he strike or thrust short, and therewith go back or not go back, follow him upon your twofold Governors, so shall your ward and slip be performed in like manner as before, and yourself still be safe.

3) Keep your distance and suffer not your adversary to win or gain the place of you, for if he shall so do, he may endanger to hurt or kill you. Know where the place is, when one may strike or thrust home without putting in of his foot. That may be objected against this last ground, that men do often strike or thrust at the half sword, and yet the same is perfectly defended, where too I answer where that defence is perfectly made by reason that the warder hath his true space before the striker or thruster is in his force or entered into his action.

Therefore, always do prevent both blow and thrust, the blow by true space, and the thrust by narrow space that is true, crossing it before the same comes into their full force, otherwise the hand of the Agent being as swift as that hand of the Patient, the hand of that Agent being the first move, must of necessity strike or thrust that part of the Patient which shall be stricken or thrust at because the time of that hand to the time of that hand, being like swiftness the first move hath the advantage.

4) When your enemy shall press upon you, he will be open in one place or other, both at single or double weapon, or at the least, he will be too weak in his ward upon such pressing, then strike or thrust at such open or weakest part that you shall find nearest.

5) When you attempt to win the Place, do it upon guard, remembering your Governors, but when he presseth upon you and gaineth you the Place, then strike or thrust at him in his coming in.

Or, if he shall strike or thrust at you, then ward it, and strike or thrust at him from your ward, and fly back instantly according to your Governors, so shall you escape safely, for that the first motion of the feet backward is more swift than the first motion of the feet forward, whereby your regression will be more swifter than his course in progression to annoy you. The reason is, that in the first motion of his progression, his number and weight is greater than yours are. In your first motion of your regression, nevertheless, all men know that the continual course of the feet forward is more swift than the continual course of the feet backwards.

6) If your enemy lie in variable fight, and strike or thrust at you then be sure to keep your Distance and strike or thrust at such open part of him as are nearest unto you, viz, at the hand, arm, head, or leg of him, and go back with all.

If two men fight at variable fight, and if within distance, they must both be hurt, for in such fight they cannot make a true cross, nor have time truly to Judge, by reason that the swift motion of the hand, being a swifter mover than the eye, deceiveth the eye.

Look to the grip of your enemy and upon his slip take such ward as shall be best fit your hand, from which ward strike or thrust, still remembering your Governors. If you can mislead your enemy at any kind of weapon, then you have the advantage, because he must move his feet to direct himself again, and you in the meantime, may strike or thrust at him, and fly out fast, before he can offer anything at you, his time will be so long.

When you shall ward blow or thrust, made at your right or left part, with any kind of weapon, remember to draw your hind foot a little circularly, from that part to which the same shall be made, whereby you shall make your defence the more perfect, and shall stand the more apt to strike or thrust from it.

The True and False Times

The True Times be these:
1) the time of the hand
2) the time of the hand and body
3) the time of the hand, body, and foot
4) the time of the hand, body, and feet

The False Times be these:
1) the time of the foot
2) the time of the foot and body
3) the time of the foot, body and hand
4) the time of the feet, body and hand

That the blow is more dangerous and deadly in a fight than a thrust. For proof thereof to be made according with Art, an Englishman holdeth argument against an Italian

Italian: Which is more dangerous or deadly in fight of a blow or a thrust?

Englishman: This question is not propounded according to art, because there is no fight perfect without both blow and thrust.

Italian: Let it be so, yet opinions are otherwise holden, that the thrust is only to be used, because it cometh a nearer way, and is more dangerous and deadly, for these reasons: first, the blow compasseth round like a wheel, but the thrust passeth in a straight line, therefore, the blow by reason of the compass, hath a longer way to go than the thrust, and is therefore longer in doing, but the thrust passeth in a straight line, therefore hath shorter way to go than the blow, and is therefore done in shorter time, and is therefore much better than the blow, and more dangerous and deadly, because if a thrust do hit the face or body, it endangereth life, and most commonly death ensueth. But if the blow hit the body, it is not dangerous.

Englishman: Let your opinions be what they will, but that the thrust cometh a nearer way, and is sooner done than the blow, is not true. And for proof thereof read the twelfth Paradox (see below). And now will I set down probable reasons that the blow is better than the thrust, and more dangerous and deadly.

First, the blow cometh as near a way, and most commonly nearer than doth the thrust; therefore, in respect of time, whereupon standeth the perfection of fight, the blow is much better than the thrust. Again, the force of the thrust passeth straight, therefore any cross being indirectly made, the force of a child may put it by. But the force of a blow passeth indirectly, therefore must be directly warded in the countercheck of his force, which cannot be done but by the convenient strength of a man, and with true cross in true time, or else will not safely defend him, and is therefore much better, and more dangerous than the thrust, and again, the thrust being made through the hand, arm, or leg, or in many places of the body and face, are not deadly, neither are they maims, or loss of limbs or life, neither is he much hindered for the time in his fight, as long as the blood is hot.

For example, I have known a gentleman hurt in Rapier fight, in nine or 10 places through the body, arms, and legs, and yet hath continued in his fight, and afterward hath slain the other, and come home and hath been cured of all his wounds without maim, and yet is living. But the blow being strongly made, taketh sometimes clean away the hand from the arm, hath many times been seen. Again, a full blow upon the head or face with a short sharp sword, is most commonly death. A full blow upon the neck, shoulder, arm, or leg, endangereth life, cutteth off the veins, muscles, and sinews, perisheth the bones - these wounds made by the blow, in respect of perfect healing, are the loss of limbs, or maims incurable forever.

And yet more for the blow: a full blow upon the head, face, arm, leg, or legs, is death, or the party so wounded in the mercy of him that shall so wound him. For what man shall be able long in fight to stand up, either to revenge, or defend himself, having the veins, muscles, and sinews of his hand, arm, or leg clean cut asunder? Or, being dismembered by such wound upon the face or head, but shall be enforced thereby, and through the loss of blood, the other a little dallying with him, to yield himself, or leave his life in his mercy?

And for the plainer (simple-minded?) deciding this controversy between the blow and the thrust, consider this short note. The blow cometh many ways, the thrust doth not so. The blow cometh a nearer way than a thrust most commonly, and is therefore sooner done. The blow requireth the strength of a man to be warded; but the thrust may be put by, by the force of a child. A blow upon the hand, arm, or leg is a maim incurable; but a thrust in the hand, arm or leg is to be recovered. The blow hath many parts to wound, and in every of them commandeth the life; but the thrust hath but a few, as the body or face, and not in every part of them neither.

The 12th Paradox

That there is no fight perfect without both blow and thrust: neither is there any certain rule to be set down for the use of the point only, these be the reasons: In fight, there are many motions with the hand, body, and feet, and in every motion the place of the hand is altered, and because by the motions of the hand, the altering of the places of the hand, the changes of lyings (positions), wards, and breaking of thrusts, the hand will sometimes be in place to strike, sometimes to thrust, sometimes after a blow to thrust, and sometimes after a thrust to strike, and sometimes in place where you may strike, and cannot thrust without loss of time, and sometimes in place where you may thrust, and cannot strike without loss of time, and sometimes in a place where you can neither strike nor thrust, unless you fight upon both blow and thrust, nor able to defend yourself by ward or going back, because your space will be too wide, and your distance lost.

And sometimes when you have made a thrust, a ward or breaking is taken in such force with the dagger or blade of the sword, that you can neither thrust again, nor defend yourself unless you do strike, which you may soundly do, and go free, and sometimes when you strike, a ward will be taken in such force, that you cannot strike again, nor defend yourself, unless you thrust, which you may safely do and go free. So to conclude, there is no perfection in the true fight, without blow and thrust, nor certain rule to be set down for point only.

Baraw Sugbo - Saavedra's Knife Art

2007-12-11T07:04:00.000-08:00

Baraw Sugbo, formerly known as Arnis Diablo, is a Filipino Martial Art specializing in the use of the knife. The art comes down to a few students from the late great Tatay Lorenzo Saavedra. His only student of the knife was a certain Simo, who then taught a select few students. GM Atillo learned the essence of this art from Rene Capangpangan. Our condolences on the passing of Gregorio Ceniza on October 6, 2007 - one of the masters of Baraw Sugbo. You can read more about this art here.

I've been communicating with a Baraw Sugbo representative on Youtube about bringing over the current masters (Noy Cronnie Cabatingan and Noy Boy Ceniza) to the U.S. for a seminar circuit. I will speak to GM Atillo about it. If anyone else or another organization can help with this, please contact me. It would be great to have these masters here to spread this little known art. If this doesn't pan out, I will have to travel to Cebu in 2008 to start my adventure into this art. As this art comes from my teacher's lineage, I think it would be imperative, even only from an historical viewpoint, to learn, preserve and pass it on.

Here's a sample clip here.

Mini-Interview With Jenae Noonan

2007-12-11T07:03:00.000-08:00

A talented, beautiful model and martial artist, Jenae Noonan took some time out of her busy schedule to do a quick blog interview.

PD: Many people know you as a model, but we'll concentrate on your martial arts experience. What is your main background and what arts do you cross train in?

JN: I was trained in Muay Thai and Ju jitsu. I like the ground fighting the best cause it seems more practical in defending myself if needed in the streets.

PD: You were on Perfect 10 Model Boxing. How did you find the competition and was the training just as grueling as preparing for a sanctioned fight?

JN: When i would prepare for a P10 fight i would train just as hard. My Trainer, Mac Danzig, wouldn't let me slack and pushed me just as hard for any fight. The competition ranged. All the models gave it there all and all the fighters were hard work. Those girls had amazing hearts and drive. They weren't just some model that was picked to fight. They all trained really hard - some even for two years. IT was a great experience.

PD: What age did you start martial arts/boxing and what made you get into it?

JN: I started martial arts at a really young age, but that took a back seat to soccer until I was 21. I moved into a house that had two fighters living in it and both trained me in their respected arts. Shortly after, I started competing.

PD: And finally, being a model, I'm sure you've run into some interesting fellows. Have you had to use your knowledge to defend yourself?

JN: No, I've been lucky to have never needed to use my knowledge of fighting. I've found that words can work just as good and if you carry yourself with respect, you dont have to worry about being disrepected. For the most part.

What to Keep in Mind When Switching Hands

2007-12-11T05:52:00.000-08:00

The general rule of thumb in the FMA, especially the ones that work a lot of knife, is to avoid switching hands. It may look flashy and cool but practically speaking, you're asking to be stuck. Unless you're superbly coordinated and well mastered, switching hands should be used only when necessary, like when you and your opponent are in a bind or you can foresee that a bind is inevitable - but even then, you're gambling. Otherwise, you're opponent may easily knock your weapon out of the air or prevent the other hand from catching the weapon all together, and maybe even simultaneously control the now empty lead hand and slash and thrust before you know it.

I've seen switching hands for sticks too, like the clip below. The drill may be great for hand-eye coordination and timing, but you should also critique its use combatively. Not saying the teacher in the clip doesn't, but I just want expound on that here. I make it a rule to always critique clips with my teacher and students. That is how you will grow. If your teacher doesn't do this then do it on your own. You should always be questioning and seeking the truth in any application. Learning to recognize is key - recognition should be a part of coordination and timing. If you watch the clip closely, you will recognize how smoothly the transition goes from one hand to the other. But can you see where you might break the flow - practically and combatively speaking? I would say just as the stick makes the transition you will find a tiny opening. Do not let the now free lead empty hand parry. Why? Because you "will miss all the heavenly glory" - just kidding. Because you will recognize that by his abandoning the front guard, you can now thrust to the eye (the moon) before he gets a chance to counter with the stick in his left hand. Because you are now controlling the lead hand, you have the added safety net of using it (his own hand/arm) to block his left hand strikes.

This is just one of many possibilities. Seek for yourself all other avenues and see if you will reach the same goal - and counter any obstacles along the way.

Atillo Balintawak and Cross Training

2007-12-10T13:20:00.000-08:00

The great thing about our art is that it complements any art that you're in. And I also like the idea that cross training can build your repertoire of physical strengths, techniques and mindset for handling yourself in different situations and against different people.

An art that I'd want to cross train in is Gracie Jiu-Jitsu. Atillo Balintawak has some ground work (dumog) and stick locks but it's not as deep or as specialized as the ground/grappling arts. While our principle of establishing a superior position and striking from an angle where we can touch our opponent but he cannot touch us applies to stand up, it's important that we realize our limits in applying this principle on the ground and open our minds to proven concepts.

One thing that bothers me is the ignorance of people from both sides of the camp - FMA and MMA. I hear a lot of, "that stick and dagger stuff isn't going to work on the ground, especially if you lose your weapon" or, "while the mma guy's busy clinching, I'll be poking holes in his side on the way to the ground." I'd imagine, one place you won't hear this is at a Dog Brothers gathering - they like to seek the truth there. I'd hope and wish to see one of the Gracie's play at that event.

I think the line of thinking should be, "what can I learn from my fellow martial artist that will help me with my limitations?" Remember, nobody has a monopoly on martial arts - we just need to survive. If said martial artist can't help you or add to your knowledge will you stop seeking or will you continue with your search? Any martial artist worth his/her salt will continue to search. The one's who don't or usually the ones described in the paragraph above - nagging and wallowing in their ignorance. If Guro Dan Inosanto can cross train in the Machado style, I'm sure there is value in it for you too.

Well back to my preference of Gracie Jiu-Jitsu as a good art to cross train in. They have been for many years the masters of the clinch, takedown and grappling finish. I've seen their many winning clips against other styles like kung fu, karate, hapkido, judo and so on, and there's no denying that they know the intricacies of groundwork. I've also seen a couple of Gracie fights against Kazushi Sakuraba (the Gracie Killer) and I'd imagine you can definitely learn a few things from watching Sakuraba too. I've noticed that every Gracie move has a purpose - to establish a proper base and superior position where they can strike the opponent, but not be struck. And when I see a move lead to that rear naked choke, arm bar, or triangle choke, I realize the beauty in all the brutality. It's very similar, in principle, to the Cuentada that GM Atillo applies to lead you to a non-superior position.

It's basically a chess game isn't it? Know how to operate on the ground, even enough to counter and get yourself on your feet again.

Empty Yourself and Become A Better Fighter

2007-12-10T11:52:00.000-08:00

Empty yourself of everything.
Maintain a steady serenity.
All things take shape and become active,
but I see them return to their source,
like vegetation that grows and flourishes,
but returns to the root from which it springs.

Lao Zi, Tao Te Ching

In most martial arts schools there are drills to develop timing, balance, mechanics, and sensitivity. You practice and eventually master techniques and develop essential skills to neutralize your opponent's attack. But let's now break down the text above and see how it can relate to your martial arts practice and to the psychology of it in particular.

When you're in the thick of it - in a tournament situation or on the street, certains things can throw all those mastered techniques out the window. You might lose patience, tense up, get tunnel vision, or forget how to breath all of a sudden.

While sparring one day with GM Atillo, I remember performing a defensive move that he had not taught me yet - but it came naturally. The smile on his face made me guess he was thinking, "not bad, not bad." Of course, being the analyzing type, I had thought too much on this instance during the remainder of the spar and paid for it on my arms, legs, and head (luckily I was wearing a helmet). And this brings me to the flow of a fight - your training should instill natural, logical moves that will flow effortlessly in combat. I'll compare Lao Zi's saying, "Empty yourself of everything." Much like what Bruce Lee once said, GM Atillo made it a point to always empty yourself and not think about anything during a fight, especially the outcome. You should be in the now and respond naturally using what you were taught. For me, this is easier said than done - practice, practice, practice.

The line, "but I see them return to their source, like vegetation that grows and flourishes, but returns to the root from which it springs," can mean several things. To me, this means a return to the basics, your root, or foundation. Your moves don't have to be complicated. Mastering three or four techniques is better than a thousand that you're so-so at. Highly technical moves are fine to have in your repertoire, but don't be fixated on them - simplicity is key.

The line, "Maintain a steady serenity," can mean keeping your composure. You can release feelings of anger, hate or fear, although a little fear can be a good thing. The best policy is calm restraint. To resolve issues by being diplomatic should be your first line of self-defense. I recall one of my students using calm restraint and level-headed talk during a road rage incident. He put the man on the ground only when talking didn't do the job and the other man swung first. Being the gentleman that he was, he even helped the attacker back to his car.

You might also see this steady serenity when a cat comes across an overly aggressive dog. The cat's gaze is steady, it's breathing relaxed, it knows not to commit to feints, and counterattacks with a barrage of swats using perfect timing. I'm guilty of sometimes holding my breath too long during a movement - a big no-no if you want fluidity. Maintain a relaxed and steady breath to maintain a steady serenity and gain maximum power.

Lastly, the line, "All things take shape and become active," can mean to go with the flow and adapt to any movement (shape) that becomes active. And isn't this what makes the FMA what it is? Fluidity can lull your opponent into a false sense of security and give you the advantage and element of surprise - like the calm before the storm. On the other hand, fluidity can be like a tsunami and crush and drown your opponent. While we are blessed and love fluidity and flow in the fma, I like to think that this is a personal thing. If you can make the art your own, through diligent practice and constant analysis, you will flow and be fluid no matter which martial art you study - it's the fighter, not the art.

When you're relaxed you can be fluid, move with less energy expended, and with more speed.

Pictures From The Past

2007-12-09T12:04:00.000-08:00

A Glimpse

2007-12-09T12:02:00.000-08:00

The Position

2007-12-08T12:13:00.000-08:00

In Balintawak, we move our feet according to the attacker's movement. In training, if he moves forward, I move back and vice versa. In combination, we use body shifting and leaning to attack our targets with minimal movement, conserving energy but at the same time delivering maximum power.

If the saying, "the way you train is the way you fight" is true, then would our movements and positioning, in training, mirror our movements and positioning in a real altercation? Possibly. It all depends on if the instructor will break the rhythm and patterns and really look at how change is inevitable in a real fight.

If the instructor is any good, you will eventually learn how to account for every move of your opponent independent of the groupings, patterns and drills - meaning you will move au natural. Yes, that's right. The positions and movements will be your own with diligent practice and proper foresight from your instructor. I always told myself before that I'd like to one day move like GM Atillo and emulate his trademark foot stomps. Eventually, I realized that I didn't need to. And would I really like to be the cookie-cutter poster boy? I don't think so. Everyone has there own personal style and movements they can call their own. Some look really nice performing them and others - well, not so nice. But you know, when it comes down to your life, I don't think you're going to worry too much about how you look, but how you finish the job. The way you look is just the gravy.

When I direct beginners and those with some training to the Balintawak videos on Youtube, I hear comments ranging from, "It looks like a dance" to "Can we see some random movements instead of all this grouping?" - well sure you can. But it all depends on the instructor. What we and the other Balintawak groups show on the internet is merely the tip of the iceberg to let the viewer see what the basic foundation is all about. I remember training with another FMA instructor in Toronto and analyzing the counter to a Balintawak number three strike in the grouping method. We both played with the notion that if we applied that counter to someone swinging a sword, we might be on the receiving end of what I like to call, "JUNK." This means that even if the sword would be disarmed by our striking at the elbow, while checking the wrist, the momentum and power of the swing may cause the sword to fly towards us striking our middle or lower section. No matter how many hand, stick, sword techniques we came up with, it all came down to tweaking our position. I won't list all the different positions, but I'll say it came and does come down to common sense and simplicity. Nice looking move or not if it's simple and works, you're golden.

The one thing (among many one things) that is the great equalizer, (but may help you look good at the same time) is position. Earlier in this article I mentioned that change is inevitable. Change is all around us. And by the same token, change should be looked at in your training. For example, the basic footwork is that you maintain the optimal distance with your opponent. But if I held ground/position and let my opponent move in would that be wrong? Of course not because we should be able to adapt to change and flow with whatever comes our way. Of course, you should be looking at it situationally. If you're drilling and step out of the box by not moving when you should have, at least explain or demonstrate your intentions. Did you want to hold ground to use the butt of the stick to the throat, or hold ground to zone out or outflank to get the opponent's blind side, or hold ground to off balance and apply a foot sweep? If you say, "I dunno" well, that just wastes your time and everyone else's.

If your instructor encourages experimentation with positioning and situational analysis, better take advantage 'cause you have much to gain.

Movement in Balintawak

2007-12-08T12:06:00.000-08:00

Back in elementary school, I remember playing my favorite game during p.e. class - dodge ball. It's basically a group of people in a circle that try to dodge a ball thrown by people outside the circle. Once hit, you leave the circle and join the group of throwers. Most of the time I was last in the circle and it took some time for them to knock me out. I'd bob, weave, dive, do whatever to get the heck out of the way.

In balintawak, these same moves can be applied, with more subtlety of course. Some practitioners have their own style of moving. For instance, I heard that the late GM Maranga would rush you like a bull and take you down...doing some sort of attacking block on the way in. I read that GM Joe Go's style of movement was more or less dodger-esque. It was very hard to touch him and he rarely used his hands, instead relying on moving his body, weaving, bobbing - basically dodging, but with finesse and perfect timing. In Joe Go's higher level and style called Gokosha, it lacks parry and blocks and relies on body shifting and footwork - basically dodging. Even GM Bacon was a dodger. He was small and wiry and employed a lot of weight shifting and leaning (undayag) to get the superior position, and it was hard to predict his movements. And thus, when you were struck, and it hurt, you'd appreciate his way of moving and generating that kind of power in the close range.

I believe that in the inside game, these attributes have to be developed to the same degree your look (eyes) and sensitivity (hands, arms) are. GM Atillo has it down to a tee. These attributes work in concert and back each other up in the close range. If one fails, you can rely on the others for a time until they're all working in concert again. But don't make this a habit - in dodge ball they have to be working together all the time non-stop because one hit means you're out. In real life, one hit from an attacker CAN mean that you're out for good. So as I always say - practice, practice, practice.

Member Instructors/Eskrimadors

2007-12-07T12:15:00.000-08:00

Paolo David
Dieter Roser
Alfredo C Hermosilla
Alberto Ricablanca
Eduardo F Tabasa
Emeliano V Atillo
Freddie G Magsalin
Gerundio F Tabasa
Michael McFarland
Victor Tabar
Wilfredo A Dagatan
Michael T Bates
Dennis Tosten
Irv Gill
Joel Leon
Joe Breidenstein

Original Students

2007-12-06T12:20:00.000-08:00

Respect goes out to my core, or original students who took the chance and opened their minds to something new and not so common. They trained hard and in turn, made me step up my game and become a better teacher. Many thanks for helping me spread the essence of Atillo Balintawak in Toronto, Canada.

In no particular order they are:

LeVar Piper
Josh Abraham
Kirk Beatty
Don Agostinis
Derek Beatty
Mike Caterini
Greg Cantrell
Samantha Meyer